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Explicit Notation and Implicit Identity: Earle Brown's Philosophy of Composition and an Informed Performance Practice
Explicit Notation and Implicit Identity: Earle Brown's Philosophy of Composition and an Informed Performance Practice
상세정보
- 자료유형
- 학위논문 서양
- 최종처리일시
- 20260202105418
- ISBN
- 9798293810093
- DDC
- 780
- 서명/저자
- Explicit Notation and Implicit Identity: Earle Browns Philosophy of Composition and an Informed Performance Practice
- 발행사항
- [Sl] : University of Illinois at Urbana-Champaign, 2023
- 발행사항
- Ann Arbor : ProQuest Dissertations & Theses, 2023
- 형태사항
- 117 p
- 주기사항
- Source: Dissertations Abstracts International, Volume: 87-03, Section: A.
- 주기사항
- Advisor: Taylor, Stephen.
- 학위논문주기
- Thesis (D.M.A.)--University of Illinois at Urbana-Champaign, 2023.
- 초록/해제
- 요약This paper analyzes several recordings of Earle Brown's December 1952 (1952), Four Systems (1953), and the String Quartet (1965) to understand how performers approach composition and improvisation when performing his works. By collecting and synthesizing Brown's lectures and writings over several decades of his career it can be determined that Brown was focused primarily on the concept of an identity, or a set of characteristics that allow performed works to be easily recognizable (e.g., the recurring motive in Beethoven's Fifth Symphony). Through graphic notation and open form, Brown allows musicians to collaborate with him through the score to create an identity in performance. This requires performers to experiment both with the explicit information Brown supplies and the implicit extensions of that information as perceived by the performer(s). Recordings of these works are reflections of the work's innermost identity and analyzing them provides insight into how future performers can interact with and successfully perform Brown's scores. With this knowledge, this paper presents a performer's guide to Earle Brown's music, opening a door for his works to be accessible by any musician regardless of their familiarity with Brown or his contemporaries. This guide can be read independently of the rest of the paper, serving as both a concise point of entry and a quick reference tool.
- 일반주제명
- Music
- 일반주제명
- Musical composition
- 일반주제명
- Musical performances
- 키워드
- Brown, Earle
- 키워드
- Graphic notation
- 키워드
- Quartet, String
- 기타저자
- University of Illinois at Urbana-Champaign Music
- 기본자료저록
- Dissertations Abstracts International. 87-03A.
- 전자적 위치 및 접속
- 로그인 후 원문을 볼 수 있습니다.
MARC
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■040 ▼aMiAaPQ▼cMiAaPQ
■0820 ▼a780
■1001 ▼aHinkley, Brian J.
■24510▼aExplicit Notation and Implicit Identity: Earle Brown's Philosophy of Composition and an Informed Performance Practice
■260 ▼a[Sl]▼bUniversity of Illinois at Urbana-Champaign▼c2023
■260 1▼aAnn Arbor▼bProQuest Dissertations & Theses▼c2023
■300 ▼a117 p
■500 ▼aSource: Dissertations Abstracts International, Volume: 87-03, Section: A.
■500 ▼aAdvisor: Taylor, Stephen.
■5021 ▼aThesis (D.M.A.)--University of Illinois at Urbana-Champaign, 2023.
■520 ▼aThis paper analyzes several recordings of Earle Brown's December 1952 (1952), Four Systems (1953), and the String Quartet (1965) to understand how performers approach composition and improvisation when performing his works. By collecting and synthesizing Brown's lectures and writings over several decades of his career it can be determined that Brown was focused primarily on the concept of an identity, or a set of characteristics that allow performed works to be easily recognizable (e.g., the recurring motive in Beethoven's Fifth Symphony). Through graphic notation and open form, Brown allows musicians to collaborate with him through the score to create an identity in performance. This requires performers to experiment both with the explicit information Brown supplies and the implicit extensions of that information as perceived by the performer(s). Recordings of these works are reflections of the work's innermost identity and analyzing them provides insight into how future performers can interact with and successfully perform Brown's scores. With this knowledge, this paper presents a performer's guide to Earle Brown's music, opening a door for his works to be accessible by any musician regardless of their familiarity with Brown or his contemporaries. This guide can be read independently of the rest of the paper, serving as both a concise point of entry and a quick reference tool.
■590 ▼aSchool code: 0090.
■650 4▼aMusic
■650 4▼aMusical composition
■650 4▼aMusical performances
■653 ▼aBrown, Earle
■653 ▼aGraphic notation
■653 ▼aPerformance practice
■653 ▼aCross Sections and Color Fields
■653 ▼aQuartet, String
■690 ▼a0413
■690 ▼a0214
■690 ▼a0943
■71020▼aUniversity of Illinois at Urbana-Champaign▼bMusic.
■7730 ▼tDissertations Abstracts International▼g87-03A.
■790 ▼a0090
■791 ▼aD.M.A.
■792 ▼a2023
■793 ▼aEnglish
■85640▼uhttp://www.riss.kr/pdu/ddodLink.do?id=T17360284▼nKERIS▼z이 자료의 원문은 한국교육학술정보원에서 제공합니다.
