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

FindBook

Google Book

Amazon

博客來

Gesture in Steve Reich's Music and Its Signification : = A Referential Approach to His Process, Stylistic, and Postminimalist Works.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Gesture in Steve Reich's Music and Its Signification :/
其他題名:	A Referential Approach to His Process, Stylistic, and Postminimalist Works.
作者:	Ross, Martin.
面頁冊數:	1 online resource (254 pages)
附註:	Source: Dissertations Abstracts International, Volume: 84-09, Section: A.
Contained By:	Dissertations Abstracts International84-09A.
標題:	Musicians & conductors. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=30289646click for full text (PQDT)
ISBN:	9798374429596

Gesture in Steve Reich's Music and Its Signification : = A Referential Approach to His Process, Stylistic, and Postminimalist Works.
Ross, Martin.

Gesture in Steve Reich's Music and Its Signification :A Referential Approach to His Process, Stylistic, and Postminimalist Works. - 1 online resource (254 pages)

Source: Dissertations Abstracts International, Volume: 84-09, Section: A.

Thesis (Ph.D.)--The University of Western Ontario (Canada), 2022.

Includes bibliographical references

When listening to minimalist music, one will more than likely notice the scarcity of materials. Small motifs and repetition pervade the surface, and one might be inclined to interpret such scarcity as mere redundancy of materials with seemingly few meaningful layers underneath the surface. When analyzing minimalist music, one will notice a similar pattern of scarcity. Music-theoretical scholarship on minimalist music, especially formalist analyses, primarily investigates the rhythmic and melodic connections spanning the entire work. The analytical uncovering of such scarcity through formal means has resulted in few novel analytical approaches and, consequently, an attitude that minimalist music itself is resistant to analysis.This dissertation, both in its methodological basis and applied analyses, reconceptualizes minimalist composer Steve Reich's music such that it deemphasizes the quantifiable properties in favour of its qualifiable ones. The works themselves serve as representations of Reich's compositional activity. One way to conceptualize this activity is "energetic shaping," the definitive quality behind Robert Hatten's theory of musical gesture (Hatten 2004). This dissertation explores the signification underlying Steve Reich's music, primarily through a semiotically grounded theory of musical gesture.Three different eras in Reich's compositional output will be examined. His early works of the 1960s focused on bringing an audible process to the listener's attention. In the 1970s, Reich focused on the rhythmic pattern as he developed his musical style. In the 1980s, the works began sharing similar compositional attributes. These three decades make up his process music, "stylistic" music, and postminimalist music, respectively. The gestures found in these eras are represented by a definitive feature of the work and inferred by the subject of interest. Concerning the former, Reich's unique musical processes, the rhythmic pattern, and previous analyses are the representative features of interest. Concerning the latter, the listener, performer, and analyst are the ones to deduce the significance underlying each era. The result of this dissertation is an improved understanding of Reich's music and a new referential perspective that shows minimalist music being open to analysis rather than resistant to it.

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

Mode of access: World Wide Web

ISBN: 9798374429596Subjects--Topical Terms:

3556280
Musicians & conductors.
Index Terms--Genre/Form:

542853
Electronic books.

Gesture in Steve Reich's Music and Its Signification : = A Referential Approach to His Process, Stylistic, and Postminimalist Works.
LDR:03680nmm a2200349K 4500 001 2359109
005 20230906055316.5
006 m o d
007 cr mn ---uuuuu
008 241011s2022 xx obm 000 0 eng d
020 $a 9798374429596
035 $a (MiAaPQ)AAI30289646
035 $a (MiAaPQ)oaiirlibuwocaetd11632
035 $a AAI30289646
040 $a MiAaPQ $b eng $c MiAaPQ $d NTU
100 1 $a Ross, Martin. $3 3699683
245 1 0 $a Gesture in Steve Reich's Music and Its Signification : $b A Referential Approach to His Process, Stylistic, and Postminimalist Works.
264 0 $c 2022
300 $a 1 online resource (254 pages)
336 $a text $b txt $2 rdacontent
337 $a computer $b c $2 rdamedia
338 $a online resource $b cr $2 rdacarrier
500 $a Source: Dissertations Abstracts International, Volume: 84-09, Section: A.
500 $a Advisor: Cuciurean, John.
502 $a Thesis (Ph.D.)--The University of Western Ontario (Canada), 2022.
504 $a Includes bibliographical references
520 $a When listening to minimalist music, one will more than likely notice the scarcity of materials. Small motifs and repetition pervade the surface, and one might be inclined to interpret such scarcity as mere redundancy of materials with seemingly few meaningful layers underneath the surface. When analyzing minimalist music, one will notice a similar pattern of scarcity. Music-theoretical scholarship on minimalist music, especially formalist analyses, primarily investigates the rhythmic and melodic connections spanning the entire work. The analytical uncovering of such scarcity through formal means has resulted in few novel analytical approaches and, consequently, an attitude that minimalist music itself is resistant to analysis.This dissertation, both in its methodological basis and applied analyses, reconceptualizes minimalist composer Steve Reich's music such that it deemphasizes the quantifiable properties in favour of its qualifiable ones. The works themselves serve as representations of Reich's compositional activity. One way to conceptualize this activity is "energetic shaping," the definitive quality behind Robert Hatten's theory of musical gesture (Hatten 2004). This dissertation explores the signification underlying Steve Reich's music, primarily through a semiotically grounded theory of musical gesture.Three different eras in Reich's compositional output will be examined. His early works of the 1960s focused on bringing an audible process to the listener's attention. In the 1970s, Reich focused on the rhythmic pattern as he developed his musical style. In the 1980s, the works began sharing similar compositional attributes. These three decades make up his process music, "stylistic" music, and postminimalist music, respectively. The gestures found in these eras are represented by a definitive feature of the work and inferred by the subject of interest. Concerning the former, Reich's unique musical processes, the rhythmic pattern, and previous analyses are the representative features of interest. Concerning the latter, the listener, performer, and analyst are the ones to deduce the significance underlying each era. The result of this dissertation is an improved understanding of Reich's music and a new referential perspective that shows minimalist music being open to analysis rather than resistant to it.
533 $a Electronic reproduction. $b Ann Arbor, Mich. : $c ProQuest, $d 2023
538 $a Mode of access: World Wide Web
650 4 $a Musicians & conductors. $3 3556280
650 4 $a Listening. $3 530843
650 4 $a Music theory. $3 547155
650 4 $a Rhythm. $3 586705
650 4 $a Fine arts. $3 2122690
650 4 $a Music. $3 516178
655 7 $a Electronic books. $2 lcsh $3 542853
690 $a 0221
690 $a 0357
690 $a 0413
710 2 $a ProQuest Information and Learning Co. $3 783688
710 2 $a The University of Western Ontario (Canada). $3 1017622
773 0 $t Dissertations Abstracts International $g 84-09A.
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=30289646 $z click for full text (PQDT)