東華大學圖書館 |

語系: 繁體中文

說明(常見問題)

回圖書館首頁

手機版館藏查詢

登入

回首頁

切換: 標籤 | MARC模式 | ISBD

The Dynamics of Composer-Performer R...

Smith, Jonathan.

FindBook

Google Book

Amazon

博客來

The Dynamics of Composer-Performer Relationships: A Study of Long-Term Creative Collaboration.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	The Dynamics of Composer-Performer Relationships: A Study of Long-Term Creative Collaboration./
作者:	Smith, Jonathan.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2020,
面頁冊數:	205 p.
附註:	Source: Dissertations Abstracts International, Volume: 82-06, Section: A.
Contained By:	Dissertations Abstracts International82-06A.
標題:	Music. -
電子資源:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28024958
ISBN:	9798698546184

The Dynamics of Composer-Performer Relationships: A Study of Long-Term Creative Collaboration.
Smith, Jonathan.

The Dynamics of Composer-Performer Relationships: A Study of Long-Term Creative Collaboration. - Ann Arbor : ProQuest Dissertations & Theses, 2020 - 205 p.

Source: Dissertations Abstracts International, Volume: 82-06, Section: A.

Thesis (D.M.A.)--University of Toronto (Canada), 2020.

This item must not be sold to any third party vendors.

This dissertation investigates the dynamics of long-term collaborative relationships between composers and performers, particularly percussionists, with the aim to present useful models of artistic collaboration. It surveys the history of the composer-performer relationship in the Western concert music tradition, examining the historically rooted assumptions regarding the roles of composers and performers and the function of the score. It also discusses the importance of composer-performer collaboration throughout the history of Western percussion music, highlighting particularly significant examples of collaboration between John Cage and his West Coast Percussion Ensemble; Karlheinz Stockhausen and Christoph Caskel; Steve Reich, Russell Hartenberger and other members of the Steve Reich Ensemble; as well as Iannis Xenakis, Les Percussions de Strasbourgs, and Sylvio Gualda. An argument is made that composer-performer collaboration has been and continues to be especially important to the development of Western percussion music.This dissertation also looks critically at some of the scholarship on collaborative practices in order to establish a theory and methodology for studying collaboration. Beginning with the argument that artistic creativity is inherently a social process (presented by Howard Becker, Dorothy Miell, and Vera John-Steiner), the implications of this idea for the concept of authorship are discussed. Recent scholarship centred specifically on composer-performer interactions has presented various models and criteria for defining degrees of collaboration. This dissertation summarizes and compares these various approaches, assessing their usefulness for the present study.Finally, this dissertation presents the findings from eight interviews conducted with composers and percussionists who have engaged in long-term collaborations spanning at least a decade. These interviews sought to illuminate how these collaborators began working together, how their working relationships developed over time, how they have communicated about their shared work, and what the effects of long-term collaboration have been on their individual practices. Through a qualitative analysis of these interviews, comparing and contrasting the experiences of the interview subjects, this dissertation presents conclusions regarding what general attitudes and approaches can facilitate artistic collaboration. Furthermore, it addresses how these conclusions lead to a deeper understanding of the roles and practices of both composers and performers.

ISBN: 9798698546184Subjects--Topical Terms:

516178
Music.
Subjects--Index Terms:

Collaboration

The Dynamics of Composer-Performer Relationships: A Study of Long-Term Creative Collaboration.
LDR:03774nmm a2200397 4500 001 2280052
005 20210823091506.5
008 220723s2020 ||||||||||||||||| ||eng d
020 $a 9798698546184
035 $a (MiAaPQ)AAI28024958
035 $a AAI28024958
040 $a MiAaPQ $c MiAaPQ
100 1 $a Smith, Jonathan. $3 3558551
245 1 4 $a The Dynamics of Composer-Performer Relationships: A Study of Long-Term Creative Collaboration.
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2020
300 $a 205 p.
500 $a Source: Dissertations Abstracts International, Volume: 82-06, Section: A.
500 $a Advisor: Huang, Aiyun.
502 $a Thesis (D.M.A.)--University of Toronto (Canada), 2020.
506 $a This item must not be sold to any third party vendors.
520 $a This dissertation investigates the dynamics of long-term collaborative relationships between composers and performers, particularly percussionists, with the aim to present useful models of artistic collaboration. It surveys the history of the composer-performer relationship in the Western concert music tradition, examining the historically rooted assumptions regarding the roles of composers and performers and the function of the score. It also discusses the importance of composer-performer collaboration throughout the history of Western percussion music, highlighting particularly significant examples of collaboration between John Cage and his West Coast Percussion Ensemble; Karlheinz Stockhausen and Christoph Caskel; Steve Reich, Russell Hartenberger and other members of the Steve Reich Ensemble; as well as Iannis Xenakis, Les Percussions de Strasbourgs, and Sylvio Gualda. An argument is made that composer-performer collaboration has been and continues to be especially important to the development of Western percussion music.This dissertation also looks critically at some of the scholarship on collaborative practices in order to establish a theory and methodology for studying collaboration. Beginning with the argument that artistic creativity is inherently a social process (presented by Howard Becker, Dorothy Miell, and Vera John-Steiner), the implications of this idea for the concept of authorship are discussed. Recent scholarship centred specifically on composer-performer interactions has presented various models and criteria for defining degrees of collaboration. This dissertation summarizes and compares these various approaches, assessing their usefulness for the present study.Finally, this dissertation presents the findings from eight interviews conducted with composers and percussionists who have engaged in long-term collaborations spanning at least a decade. These interviews sought to illuminate how these collaborators began working together, how their working relationships developed over time, how they have communicated about their shared work, and what the effects of long-term collaboration have been on their individual practices. Through a qualitative analysis of these interviews, comparing and contrasting the experiences of the interview subjects, this dissertation presents conclusions regarding what general attitudes and approaches can facilitate artistic collaboration. Furthermore, it addresses how these conclusions lead to a deeper understanding of the roles and practices of both composers and performers.
590 $a School code: 0779.
650 4 $a Music. $3 516178
650 4 $a Performing arts. $3 523119
650 4 $a Musical composition. $3 3289630
650 4 $a Music theory. $3 547155
653 $a Collaboration
653 $a Collaborative
653 $a Composer
653 $a Creativity
653 $a Percussion
653 $a Performer
690 $a 0413
690 $a 0641
690 $a 0214
690 $a 0221
710 2 $a University of Toronto (Canada). $b Music. $3 3175528
773 0 $t Dissertations Abstracts International $g 82-06A.
790 $a 0779
791 $a D.M.A.
792 $a 2020
793 $a English
856 4 0 $u https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28024958