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The Sound of the Sea All the Time : = Landscape and Image as Method.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	The Sound of the Sea All the Time :/
其他題名:	Landscape and Image as Method.
作者:	Toraman, Zeynep.
面頁冊數:	1 online resource (160 pages)
附註:	Source: Dissertations Abstracts International, Volume: 84-12, Section: A.
Contained By:	Dissertations Abstracts International84-12A.
標題:	Musical composition. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=30491919click for full text (PQDT)
ISBN:	9798379604615

The Sound of the Sea All the Time : = Landscape and Image as Method.
Toraman, Zeynep.

The Sound of the Sea All the Time :Landscape and Image as Method. - 1 online resource (160 pages)

Source: Dissertations Abstracts International, Volume: 84-12, Section: A.

Thesis (Ph.D.)--Harvard University, 2023.

Includes bibliographical references

This dissertation presents a collection of essays, musical compositions and program notes written between 2017 and 2023. To overcome the methodological and representational limitations the portfolio-based dissertation format poses, I present my musical compositions alongside essays and program notes, combining my musical and textual output into a single research product.Theodor W. Adorno's 1928 essay on Franz Schubert, in which Adorno evokes a fictional landscape to stage and examine Schubert's distinct compositional practice, serves as my starting point to explore landscape (and seascape) as both an object of study and a method of observation. The dialectical image, constructed in that essay via the physiognomy and narrative experience of the landscape, conceptually dramatizes a critical viewpoint. I consider the nature of this and other such images in their 'historicity' as theorized and developed throughout the critical and analytical practices of Adorno and Walter Benjamin. Critical to the Schubert Essay in particular is Adorno's looking past the overly romanticized interpretations of the composer, and his insistence that the meaning of this music can only be revealed if we look past such interpretations and focus on its truth content, which appears only through its decay.In my project - which presents itself at once as a comparative reading and also as a series of micro-fantasies - unanswered, or indeed unarticulated questions, regarding narrative and indeterminacy are evoked in an act of authorial self-determination haunted principally by the musical specters of the nineteenth-century chamber music and orchestral repertoires. The depth and the limitations of nineteenth-century romantic imagination, its ambiguities and paradoxes between subject and object, between natural and supernatural, between ideal and material, between transparency and opacity, are further developed in my compositional work, as the themes of indeterminacy and complexity are explored through my approach to musical form and content. Direct and indirect quotations and glosses of historical musical materials, retrieved through a process analogous to the research of archival fragments, are woven into the fabric of each piece allowing me to engage with the Western classical music canon in a curious but kind manner where bonds are formed based on mutuality and empathy with this history. The veiling and unveiling process that Adorno identifies in Schubert's music in which 'the instant a material concretizes and becomes recognizable it has already disappeared' is a process analogous to the one that Michel Serres describes when he writes, "Unveiling does not consist in removing an obstacle, taking away a decoration, drawing aside a blanket under which lies the naked thing, but in following patiently and with respectful diplomacy the delicate disposition of the veils, zones, neighboring spaces, the depth of the pile, the talweg of their seams and in displaying them when possible, like a peacock's tail or a lace skirt." It is through this process that these gleaned fragments and musical idioms are exposed in my music, rendered unrecognizable and always slightly out of reach, veiled in mist and enveloped clouds.Following from such a 'delicate disposition,' my approach to musical form uses "the Idiot's formula," as developed by Jalal Toufic in his reading of Dostoevsky, as its poetic principle. Toufic writes, drawing on Gilles Deleuze, that Dostoyevsky's characters, who are constantly caught up in life-and-death emergencies, even while they are caught up in these intense moments know that there is a more urgent question, but they do not know what it is. This awareness is what stops them and makes them become disoriented. This is the Idiot's formula. With this image in mind, I design musical forms through which each moment delivers this narrative tension, propelling the form forward, making each moment singular while preserving a sense of unity, yet also rendering this unity completely meaningless because the tension is an illusion, and the music is in fact going nowhere. The bigger formal question is left unarticulated.The compositions and essays presented in this dissertation render this dynamic, as it relates to nineteenth-century poetics, explicit through an approach to composition and writing as curatorial practice and a mode of rhizomatic organization in which each of my works portrays both an archive and its curator at once. My methodology reflects my dedication to embracing unresolved tensions, refusing to let the complexity thin out, and allowing for the coexistence of multiple perspectives and lines of thought.

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

Mode of access: World Wide Web

ISBN: 9798379604615Subjects--Topical Terms:

3289630
Musical composition.
Subjects--Index Terms:

AdornoIndex Terms--Genre/Form:

542853
Electronic books.

The Sound of the Sea All the Time : = Landscape and Image as Method.
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504 $a Includes bibliographical references
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650 4 $a Film studies. $3 2122736
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653 $a Music
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