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Percussion Plugged: Aesthetics and Practices in Electroacoustic Percussion Music
Başlık:
Percussion Plugged: Aesthetics and Practices in Electroacoustic Percussion Music
Yazar:
Weaver, Owen Harte, author.
ISBN:
9780438108684
Yazar Ek Girişi:
Fiziksel Tanımlama:
1 electronic resource (88 pages)
Genel Not:
Source: Dissertation Abstracts International, Volume: 79-11(E), Section: A.
Advisors: Ken Steen Committee members: Ken Steen; Ben Toth.
Özet:
What are the advantages and disadvantages of various means of incorporating electronics into live percussion performance? From a performers' perspective, what is the ideal music/technological environment for practical and aesthetic success? This paper attempts to answer these questions by analyzing three main parameters in electroacoustic percussion performance: degree of difficulty in execution, security in performance, and overall effectiveness of the technology in the music. The first two of these parameters, degree of difficulty and security in performance are objective and observable in terms of the software, hardware, and/or overall equipment used. They reflect the complexity of the setup and the potential for malfunction during performance. The third is a subjective, aesthetic consideration: how effective is the technology in performance when compared to the practicality or impracticality of its implementation? Chapter One describes the origins of percussion music and electronic music, illustrating how and why composers and inventors devised and theorized means of making electronic music while others combined percussion instruments from around the world to explore new musical possibilities.
Chapter Two opens the discussion and analysis of electroacoustic percussion works from a practical and aesthetic point of view, starting with the category of fixed media. The chapter defines "fixed media" and discusses a number of works within this category, observing how the technology affects the performer, notation, and compositional process by focusing primarily on two pieces: Temazcal by Javier Alvarez and A Watched Pot by Steven Snowden.
Chapter Three offers a close look at compositions for percussion involving live electronics, provides a definition of "live processing", and focuses on the following pieces in particular: Eight Oh Eight by Ian Dicke and Diving Bell by Nathan Davis.
Chapter Four presents Memory Palace by Christopher Cerrone as an ideal combination of the attributes from previously discussed electronic means. The aim is to demonstrate how the composer minimizes technical requirements while maximizing the performer's freedom of expression in performance.
Notlar:
School code: 0474
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Yer Numarası | Demirbaş Numarası | Shelf Location | Lokasyon / Statüsü / İade Tarihi |
---|---|---|---|
XX(692980.1) | 692980-1001 | Proquest E-Tez Koleksiyonu | Arıyor... |
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