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On the Epistemological and Methodolo...

Lin, Mu-Xuan.

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On the Epistemological and Methodological Approaches in the Analysis of Contemporary Music and a Synthesized Analysis of Fausto Romitelli's "La Sabbia del Tempo" (1991); and an original composition, "Bonjour Minuit - a theatre of poetry : Proem, Episodes I:I - I:IV (2014-15) for three vocalists, ensemble, and electronics".

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	On the Epistemological and Methodological Approaches in the Analysis of Contemporary Music and a Synthesized Analysis of Fausto Romitelli's "La Sabbia del Tempo" (1991); and an original composition, "Bonjour Minuit - a theatre of poetry : Proem, Episodes I:I - I:IV (2014-15) for three vocalists, ensemble, and electronics"./
作者:	Lin, Mu-Xuan.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2016,
面頁冊數:	209 p.
附註:	Source: Dissertation Abstracts International, Volume: 78-03(E), Section: A.
Contained By:	Dissertation Abstracts International78-03A(E).
標題:	Music. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10157893
ISBN:	9781369129106

On the Epistemological and Methodological Approaches in the Analysis of Contemporary Music and a Synthesized Analysis of Fausto Romitelli's "La Sabbia del Tempo" (1991); and an original composition, "Bonjour Minuit - a theatre of poetry : Proem, Episodes I:I - I:IV (2014-15) for three vocalists, ensemble, and electronics".
Lin, Mu-Xuan.

On the Epistemological and Methodological Approaches in the Analysis of Contemporary Music and a Synthesized Analysis of Fausto Romitelli's "La Sabbia del Tempo" (1991); and an original composition, "Bonjour Minuit - a theatre of poetry : Proem, Episodes I:I - I:IV (2014-15) for three vocalists, ensemble, and electronics". - Ann Arbor : ProQuest Dissertations & Theses, 2016 - 209 p.

Source: Dissertation Abstracts International, Volume: 78-03(E), Section: A.

Thesis (Ph.D.)--Brandeis University, 2016.

Thesis: The claim of western music theory developed over centuries and through the establishing of methodological systematicness and prescriptiveness has, came mid-twentieth century, gradually been rendered irrelevant in relation to the contemporaneous practices of music composition. This phenomenon was further emphasized thanks to a historical preference of an epistemological Aristoxenian ideology -- an approach favoring the arithmetic, linear relationship between musical pitches -- over a Pythagorean one -- that treating musical perception based on an instantaneously projected sound object and its acoustic properties. To reestablish the co-progression of theory and composition one must utilize the one discipline in theory that has the closest proximity to the repertoire -- musical analysis, yet to employ musical analysis on concert music written in the most recent decades in a time when pluralism and individualism persist in the development of music composition is a precarious and challenging task. In this presentation, I propose, and demonstrate, a synthesizing approach that potentially produces an ideologically neutral and discursively constructive analysis, with an example of such analysis of Italian composer Fausto Romitelli's chamber music work La Sabbia del Tempo (1991).

ISBN: 9781369129106Subjects--Topical Terms:

516178
Music.

On the Epistemological and Methodological Approaches in the Analysis of Contemporary Music and a Synthesized Analysis of Fausto Romitelli's "La Sabbia del Tempo" (1991); and an original composition, "Bonjour Minuit - a theatre of poetry : Proem, Episodes I:I - I:IV (2014-15) for three vocalists, ensemble, and electronics".
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245 1 0 $a On the Epistemological and Methodological Approaches in the Analysis of Contemporary Music and a Synthesized Analysis of Fausto Romitelli's "La Sabbia del Tempo" (1991); and an original composition, "Bonjour Minuit - a theatre of poetry : Proem, Episodes I:I - I:IV (2014-15) for three vocalists, ensemble, and electronics".
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500 $a Source: Dissertation Abstracts International, Volume: 78-03(E), Section: A.
500 $a Adviser: David Rakowski.
502 $a Thesis (Ph.D.)--Brandeis University, 2016.
520 $a Thesis: The claim of western music theory developed over centuries and through the establishing of methodological systematicness and prescriptiveness has, came mid-twentieth century, gradually been rendered irrelevant in relation to the contemporaneous practices of music composition. This phenomenon was further emphasized thanks to a historical preference of an epistemological Aristoxenian ideology -- an approach favoring the arithmetic, linear relationship between musical pitches -- over a Pythagorean one -- that treating musical perception based on an instantaneously projected sound object and its acoustic properties. To reestablish the co-progression of theory and composition one must utilize the one discipline in theory that has the closest proximity to the repertoire -- musical analysis, yet to employ musical analysis on concert music written in the most recent decades in a time when pluralism and individualism persist in the development of music composition is a precarious and challenging task. In this presentation, I propose, and demonstrate, a synthesizing approach that potentially produces an ideologically neutral and discursively constructive analysis, with an example of such analysis of Italian composer Fausto Romitelli's chamber music work La Sabbia del Tempo (1991).
520 $a Composition: Bonjour Minuit -- a theatre of poetry is scored for three vocalists, seven instruments, and fixed media electronics. In 2014 I composed Bonjour Minuit -- a theatre of poetry, a long prose-poem in double narratives, and subsequently a music theatre piece under the same title. Proem and Episodes I:I through I:IV presented in this score, covering the first three pages of the poem, is the first seventeen-minute section of my ongoing, large-scale compositional undertaking. The poem and the music take on a pair of narratives that is abandoned by day and light, a hero/heroine involuntarily coerced into another life -- past lives, afterlife, a life of the ether -- by the foray into dreams and dusks. A woman's conscious hovers above her deceased body, its presence gradually dispersing into the elements for it is fast abandoned by the memories it once possessed through the bodily existence of the woman. Meanwhile, a man discovers a creature capable of transposing its whole onto its severed head once being decapitated. The poem and the music conjugate and procure a third text, delivering the double narratives in a gossamer of corporeal and rhetorical associations.
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