國立虎尾科技大學 |

Scoring the Unknown : = Rethinking Fixity and Openness in Western Art Music Notation.

Record Type:	Language materials, manuscript : Monograph/item
Title/Author:	Scoring the Unknown :/
Reminder of title:	Rethinking Fixity and Openness in Western Art Music Notation.
Author:	Hayes, Isaac Otto.
Description:	1 online resource (299 pages)
Notes:	Source: Dissertations Abstracts International, Volume: 85-08, Section: A.
Contained By:	Dissertations Abstracts International85-08A.
Subject:	Music theory. -
Online resource:	click for full text (PQDT)
ISBN:	9798381570434

Scoring the Unknown : = Rethinking Fixity and Openness in Western Art Music Notation.
Hayes, Isaac Otto.

Scoring the Unknown :Rethinking Fixity and Openness in Western Art Music Notation. - 1 online resource (299 pages)

Source: Dissertations Abstracts International, Volume: 85-08, Section: A.

Thesis (Ph.D.)--University of California, Irvine, 2023.

Includes bibliographical references

To date, there exists a startling lack of scholarly literature which attempts to systematically address novel notations for improvisers-particularly instances centering syntactically- and semantically- well-defined symbols. This lack of attention may be attributed, at least partially, to unclear definitions at the heart of the discourse and the lack of a rigorous typology of music notations generally. This dissertation, via a multi-pronged strategy, takes steps toward filling this lacuna. Chapter One provides a historical gloss grounding twentieth-and twenty-first century performer/notation interaction in much earlier models, locating Western notation's fixity and openness as core sites of musico-technological innovation. In the process, the chapter highlights pivotal signposts in Western notation which mark important paradigm shifts in these conceptual categories. Chapter Two articulates a clear philosophical position with regard to notational semantic content, "fixed" and "open" notation, and the notion of the open score as first posed in the 1950s and '60s, challenging the conceits of the prevailing "folk semiosis" of music notation in order to begin developing a more analytically useful notation typology. To this end, the chapter examines essays by Umberto Eco and Pierre Boulez, along with Gyorgy Ligeti's "Neue Notation: Kommunikationsmittel oder Selbstzweck?"-by far the most lucid attempt to formulate such a typology. Chapter Three deploys concepts solidified in the previous chapter in service of a notation-centric analysis of two late-century work complexes: Anthony Braxton's Composition No. 76 and Horatiu Radulescu's Das Andere/Op. 89 ("Before the Universe was Born"). Interrogating these works' related-but-disparate notation schemes grants new insights into notation's ability to mediate performer/composer agencies and to uniquely reflect composers' communities of practice and philosophical/aesthetic commitments. Finally, Chapter Four thoroughly documents the author's efforts to develop and deploy a novel notation scheme for improvising musicians. This includes a discussion of several aspects of the design and preliminary implementation of {O-G} notation as well as of its use in a series of creative works intended to demonstrate its range and flexibility. This is followed by a frank assessment of the extent to which it was capable of fulfilling the author's initial desiderata and subsequent design criteria.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2024

Mode of access: World Wide Web

ISBN: 9798381570434Subjects--Topical Terms:

564045
Music theory.
Subjects--Index Terms:

Graphic notationIndex Terms--Genre/Form:

554714
Electronic books.

Scoring the Unknown : = Rethinking Fixity and Openness in Western Art Music Notation.
LDR:03833ntm a22003977 4500 001 1147018
005 20240819061932.5
006 m o d
007 cr bn ---uuuuu
008 250605s2023 xx obm 000 0 eng d
020 $a 9798381570434
035 $a (MiAaPQ)AAI30815653
035 $a AAI30815653
040 $a MiAaPQ $b eng $c MiAaPQ $d NTU
100 1 $a Hayes, Isaac Otto. $3 1472614
245 1 0 $a Scoring the Unknown : $b Rethinking Fixity and Openness in Western Art Music Notation.
264 0 $c 2023
300 $a 1 online resource (299 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: 85-08, Section: A.
500 $a Advisor: Kimura, Mari.
502 $a Thesis (Ph.D.)--University of California, Irvine, 2023.
504 $a Includes bibliographical references
520 $a To date, there exists a startling lack of scholarly literature which attempts to systematically address novel notations for improvisers-particularly instances centering syntactically- and semantically- well-defined symbols. This lack of attention may be attributed, at least partially, to unclear definitions at the heart of the discourse and the lack of a rigorous typology of music notations generally. This dissertation, via a multi-pronged strategy, takes steps toward filling this lacuna. Chapter One provides a historical gloss grounding twentieth-and twenty-first century performer/notation interaction in much earlier models, locating Western notation's fixity and openness as core sites of musico-technological innovation. In the process, the chapter highlights pivotal signposts in Western notation which mark important paradigm shifts in these conceptual categories. Chapter Two articulates a clear philosophical position with regard to notational semantic content, "fixed" and "open" notation, and the notion of the open score as first posed in the 1950s and '60s, challenging the conceits of the prevailing "folk semiosis" of music notation in order to begin developing a more analytically useful notation typology. To this end, the chapter examines essays by Umberto Eco and Pierre Boulez, along with Gyorgy Ligeti's "Neue Notation: Kommunikationsmittel oder Selbstzweck?"-by far the most lucid attempt to formulate such a typology. Chapter Three deploys concepts solidified in the previous chapter in service of a notation-centric analysis of two late-century work complexes: Anthony Braxton's Composition No. 76 and Horatiu Radulescu's Das Andere/Op. 89 ("Before the Universe was Born"). Interrogating these works' related-but-disparate notation schemes grants new insights into notation's ability to mediate performer/composer agencies and to uniquely reflect composers' communities of practice and philosophical/aesthetic commitments. Finally, Chapter Four thoroughly documents the author's efforts to develop and deploy a novel notation scheme for improvising musicians. This includes a discussion of several aspects of the design and preliminary implementation of {O-G} notation as well as of its use in a series of creative works intended to demonstrate its range and flexibility. This is followed by a frank assessment of the extent to which it was capable of fulfilling the author's initial desiderata and subsequent design criteria.
533 $a Electronic reproduction. $b Ann Arbor, Mich. : $c ProQuest, $d 2024
538 $a Mode of access: World Wide Web
650 4 $a Music theory. $3 564045
650 4 $a Music. $3 649088
650 4 $a Musical composition. $3 1185732
653 $a Graphic notation
653 $a Indeterminacy
653 $a Music notation
653 $a Notations
653 $a Paradigm shifts
655 7 $a Electronic books. $2 local $3 554714
690 $a 0221
690 $a 0413
690 $a 0214
710 2 $a ProQuest Information and Learning Co. $3 1178819
710 2 $a University of California, Irvine. $b Music. $3 1472463
773 0 $t Dissertations Abstracts International $g 85-08A.
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=30815653 $z click for full text (PQDT)