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Worldmaking in Music, Sound Art, and Instrument Design
Worldmaking in Music, Sound Art, and Instrument Design
상세정보
- 자료유형
- 학위논문 서양
- 최종처리일시
- 20260202102951
- ISBN
- 9798288836480
- DDC
- 781
- 서명/저자
- Worldmaking in Music, Sound Art, and Instrument Design
- 발행사항
- [Sl] : Princeton University, 2025
- 발행사항
- Ann Arbor : ProQuest Dissertations & Theses, 2025
- 형태사항
- 131 p
- 주기사항
- Source: Dissertations Abstracts International, Volume: 87-01, Section: A.
- 주기사항
- Advisor: Trueman, Daniel L.
- 학위논문주기
- Thesis (Ph.D.)--Princeton University, 2025.
- 초록/해제
- 요약The audio arts, and music in particular, have often been understood according to a narrative concept based on a dramatic arc of conflict and resolution. I propose that a body of work exists that is better understood as an act of worldmaking in which artworks exist as assemblages of continuous process. This thesis explores ways in which the idea of worldmaking has shaped artistic practices in the audio arts. It begins by proposing a theoretical framework based primarily on the work of Ursula K. Le Guin and Anna Tsing, then examines how these ideas have been applied in the work of several composers, sound artists, and instrument designers.In music, Pauline Oliveros, Brian Eno, and Hildegard Westerkamp have each created bodies of work that have been influential on the practice of worldmaking in music. I examine the concepts underpinning their individual practices as well as the larger cultural movements that they have each contributed to before moving on to the distinct but related musical ideas of John Luther Adams and Anna Þorvaldsdottir, focusing on their immersive instrumental works Inuksuit and METAXIS.In addition to his work as a composer, Adams has also created sound installations that sonify natural systems. I explore how the indefinite nature of sound installations affects their ability to create a sense of place by comparing Adams' The Place Where You Go To Listen with Andrea Polli's Atmospherics/Weather Works and with other sound installations based on nature data.Finally, I discuss the application of worldmaking concepts to instrument design. I begin with a broad discussion of the modular synthesizer as an assemblage instrument, then examine two instruments that demonstrate distinct approaches to worldmaking: Peter Blasser's Plumbutter, and Tyler Etters' Arcologies.The portfolio section of this dissertation includes my composition a body in a place, my sound installation Sound Fisher, my electro-acoustic instrument Resin, and my software instrument Flyway. Together, these provide an illustrative overview of my creative work at Princeton.
- 일반주제명
- Musical composition
- 일반주제명
- Aesthetics
- 일반주제명
- Music
- 일반주제명
- Musical performances
- 키워드
- Assemblage
- 키워드
- Ecosystem
- 키워드
- Instruments
- 키워드
- Place
- 키워드
- Sound
- 기타저자
- Princeton University Music
- 기본자료저록
- Dissertations Abstracts International. 87-01A.
- 전자적 위치 및 접속
- 로그인 후 원문을 볼 수 있습니다.
MARC
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■006m o d
■007cr#unu||||||||
■020 ▼a9798288836480
■035 ▼a(MiAaPQ)AAI31766081
■040 ▼aMiAaPQ▼cMiAaPQ
■0820 ▼a781
■1001 ▼aElliot, Liam David.▼0(orcid)0009-0005-0778-7517
■24510▼aWorldmaking in Music, Sound Art, and Instrument Design
■260 ▼a[Sl]▼bPrinceton University▼c2025
■260 1▼aAnn Arbor▼bProQuest Dissertations & Theses▼c2025
■300 ▼a131 p
■500 ▼aSource: Dissertations Abstracts International, Volume: 87-01, Section: A.
■500 ▼aAdvisor: Trueman, Daniel L.
■5021 ▼aThesis (Ph.D.)--Princeton University, 2025.
■520 ▼aThe audio arts, and music in particular, have often been understood according to a narrative concept based on a dramatic arc of conflict and resolution. I propose that a body of work exists that is better understood as an act of worldmaking in which artworks exist as assemblages of continuous process. This thesis explores ways in which the idea of worldmaking has shaped artistic practices in the audio arts. It begins by proposing a theoretical framework based primarily on the work of Ursula K. Le Guin and Anna Tsing, then examines how these ideas have been applied in the work of several composers, sound artists, and instrument designers.In music, Pauline Oliveros, Brian Eno, and Hildegard Westerkamp have each created bodies of work that have been influential on the practice of worldmaking in music. I examine the concepts underpinning their individual practices as well as the larger cultural movements that they have each contributed to before moving on to the distinct but related musical ideas of John Luther Adams and Anna Þorvaldsdottir, focusing on their immersive instrumental works Inuksuit and METAXIS.In addition to his work as a composer, Adams has also created sound installations that sonify natural systems. I explore how the indefinite nature of sound installations affects their ability to create a sense of place by comparing Adams' The Place Where You Go To Listen with Andrea Polli's Atmospherics/Weather Works and with other sound installations based on nature data.Finally, I discuss the application of worldmaking concepts to instrument design. I begin with a broad discussion of the modular synthesizer as an assemblage instrument, then examine two instruments that demonstrate distinct approaches to worldmaking: Peter Blasser's Plumbutter, and Tyler Etters' Arcologies.The portfolio section of this dissertation includes my composition a body in a place, my sound installation Sound Fisher, my electro-acoustic instrument Resin, and my software instrument Flyway. Together, these provide an illustrative overview of my creative work at Princeton.
■590 ▼aSchool code: 0181.
■650 4▼aMusical composition
■650 4▼aAesthetics
■650 4▼aMusic
■650 4▼aMusical performances
■653 ▼aAssemblage
■653 ▼aEcosystem
■653 ▼aInstruments
■653 ▼aPlace
■653 ▼aSound
■690 ▼a0214
■690 ▼a0650
■690 ▼a0943
■690 ▼a0413
■71020▼aPrinceton University▼bMusic.
■7730 ▼tDissertations Abstracts International▼g87-01A.
■790 ▼a0181
■791 ▼aPh.D.
■792 ▼a2025
■793 ▼aEnglish
■85640▼uhttp://www.riss.kr/pdu/ddodLink.do?id=T17356556▼nKERIS▼z이 자료의 원문은 한국교육학술정보원에서 제공합니다.
