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Performing Networks in the Life and Music of Julius Eastman (1940-1990).

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Performing Networks in the Life and Music of Julius Eastman (1940-1990)./
作者:	Fowler, Andrea L.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2022,
面頁冊數:	242 p.
附註:	Source: Dissertations Abstracts International, Volume: 83-12, Section: A.
Contained By:	Dissertations Abstracts International83-12A.
標題:	Music history. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=29253038
ISBN:	9798819398258

Performing Networks in the Life and Music of Julius Eastman (1940-1990).
Fowler, Andrea L.

Performing Networks in the Life and Music of Julius Eastman (1940-1990). - Ann Arbor : ProQuest Dissertations & Theses, 2022 - 242 p.

Source: Dissertations Abstracts International, Volume: 83-12, Section: A.

Thesis (Ph.D.)--The University of Wisconsin - Madison, 2022.

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

Composer-performer Julius Eastman (1940-90), considered by many who knew him to possess polymathic talent, occupies a liminal space in American musical life. The recipient of warm, even glowing praise, from critics, Eastman quickly established himself as an interpreter of avant-garde and experimental music early in his career. During these early years at the State University of New York at Buffalo, Eastman was part of two elite new music ensembles: Creative Associates, composed of members from the university's Center of the Creative and Performing Arts under the direction of Lukas Foss and later Morton Feldman, and S.E.M., founded by fellow Creative Associates musician, Petr Kotik. After leaving Buffalo in 1976, Eastman was an active member of experimental music communities in New York City as both composer and performer. Even as his music has found new audiences, Eastman's artistic contributions remain little known. My explorations offer new ways of contextualizing Eastman's life and music, providing a more nuanced understanding of this complicated figure. Eastman's early career quickly gained attention following his American premiere performance of Peter Maxwell Davies's Eight Songs for a Mad King at the 1970 Aspen Music Festival. I examine the reception history surrounding Eastman's performances of Eight Songs for a Mad King, critical commentary on this composition, and investigate how Eastman's identity complicated reception and question the lack of recognition paid to his contributions. As Eastman's career settled in Buffalo, he expanded his reputation as an interpreter of avant-garde and experimental music. Working within institutional efforts to modernize Buffalo's musical communities, Eastman initially enjoyed wide support among the city's critics and cultural elite. But Eastman's acrimonious departure from a musical community enabled a degree of forgetting amongst the community that originally welcomed him. Through my discussion of the predominantly white space of Buffalo's new music scene, we can understand the racialized space of new music in which Eastman performed.Upon leaving Buffalo for New York City, Eastman surrounded himself with a broad and experimental music community. In my last two chapters, I focus on Eastman's words and experiences in these experimental spaces as a means of constructing new modes of understanding a complicated figure. He collaborated with a variety of musicians, performing as a conductor, vocalist, and keyboardist. Throughout these varied experiences, Eastman went through a period of spiritual and personal exploration which played out in his music. Eastman discussed these explorations in a limited number of interviews that survive. Through my discussion of these primary sources, we gain a more nuanced understanding of Eastman's personal struggle with spirituality and homelessness. His preferred manner of performance left lasting impressions on his contemporaries. Eastman's precarious positions are emblematic of his complicated biography and intersecting identities. Yet through these vulnerable spaces, we have greater opportunities to engage with Eastman and his music today, with the goal of acknowledging his lived experience and making broader connections to larger historical narratives.

ISBN: 9798819398258Subjects--Topical Terms:

3342382
Music history.
Subjects--Index Terms:

Buffalo

Performing Networks in the Life and Music of Julius Eastman (1940-1990).
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520 $a Composer-performer Julius Eastman (1940-90), considered by many who knew him to possess polymathic talent, occupies a liminal space in American musical life. The recipient of warm, even glowing praise, from critics, Eastman quickly established himself as an interpreter of avant-garde and experimental music early in his career. During these early years at the State University of New York at Buffalo, Eastman was part of two elite new music ensembles: Creative Associates, composed of members from the university's Center of the Creative and Performing Arts under the direction of Lukas Foss and later Morton Feldman, and S.E.M., founded by fellow Creative Associates musician, Petr Kotik. After leaving Buffalo in 1976, Eastman was an active member of experimental music communities in New York City as both composer and performer. Even as his music has found new audiences, Eastman's artistic contributions remain little known. My explorations offer new ways of contextualizing Eastman's life and music, providing a more nuanced understanding of this complicated figure. Eastman's early career quickly gained attention following his American premiere performance of Peter Maxwell Davies's Eight Songs for a Mad King at the 1970 Aspen Music Festival. I examine the reception history surrounding Eastman's performances of Eight Songs for a Mad King, critical commentary on this composition, and investigate how Eastman's identity complicated reception and question the lack of recognition paid to his contributions. As Eastman's career settled in Buffalo, he expanded his reputation as an interpreter of avant-garde and experimental music. Working within institutional efforts to modernize Buffalo's musical communities, Eastman initially enjoyed wide support among the city's critics and cultural elite. But Eastman's acrimonious departure from a musical community enabled a degree of forgetting amongst the community that originally welcomed him. Through my discussion of the predominantly white space of Buffalo's new music scene, we can understand the racialized space of new music in which Eastman performed.Upon leaving Buffalo for New York City, Eastman surrounded himself with a broad and experimental music community. In my last two chapters, I focus on Eastman's words and experiences in these experimental spaces as a means of constructing new modes of understanding a complicated figure. He collaborated with a variety of musicians, performing as a conductor, vocalist, and keyboardist. Throughout these varied experiences, Eastman went through a period of spiritual and personal exploration which played out in his music. Eastman discussed these explorations in a limited number of interviews that survive. Through my discussion of these primary sources, we gain a more nuanced understanding of Eastman's personal struggle with spirituality and homelessness. His preferred manner of performance left lasting impressions on his contemporaries. Eastman's precarious positions are emblematic of his complicated biography and intersecting identities. Yet through these vulnerable spaces, we have greater opportunities to engage with Eastman and his music today, with the goal of acknowledging his lived experience and making broader connections to larger historical narratives.
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