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Time -consciousness and form in nonlinear music, and, "Flux" for large chamber ensemble.

紀錄類型:	書目-語言資料,手稿 : Monograph/item
正題名/作者:	Time -consciousness and form in nonlinear music, and, "Flux" for large chamber ensemble./
作者:	Fitzell, Gordon Dale.
面頁冊數:	1 online resource (286 pages)
附註:	Source: Dissertation Abstracts International, Volume: 65-08, Section: A, page: 2825.
標題:	Music. -
電子資源:	click for full text (PQDT)
ISBN:	9780612931206

Time -consciousness and form in nonlinear music, and, "Flux" for large chamber ensemble.
Fitzell, Gordon Dale.

Time -consciousness and form in nonlinear music, and, "Flux" for large chamber ensemble. - 1 online resource (286 pages)

Source: Dissertation Abstracts International, Volume: 65-08, Section: A, page: 2825.

Thesis (Ph.D.)--The University of British Columbia (Canada), 2004.

Includes bibliographical references

This study comprises two components: a theoretical dissertation and an original musical composition. The dissertation, "Time-Consciousness and Form in Nonlinear Music," expounds an approach to analyzing certain music from the perspective of subjective time-consciousness. Specifically, it employs phenomenological constructs to examine the structure of nonlinear musical experience. Key concepts are demonstrated through analysis of the composition, entitled Flux, and several other works: Helmut Lachenmann's Dal Niente (Interieur III) and Pression, Gyorgy Ligeti's Fragment, Salvatore Sciarrino's Fifth Piano Sonata, and John Zorn's Road Runner . Chapter 1 investigates the relationship between music and subjective time-consciousness, asserting that certain musical passages evoke a unified act of consciousness in which perceived events remain simultaneously available for syntactic and semantic revision. This phenomenon, known as the "specious present," yields a sensation of indeterminacy and, in some cases, an enduring sense of present awareness. In Chapter 2 the latter sensation is defined as a phi-state (phi-state). Conditions under which the present can be made to endure are examined, and four factors contributing to the likelihood of phi-state emergence are established. Chapter 3 reconciles certain cognitive-scientific concepts with philosophical accounts of perception in order to devise a method for classifying phi-states, and Chapter 4 examines a variety of local-level temporal relationships among phi-states. Based on the assertion that each phi-state possesses its own temporality, it is determined that phi-states can emerge not only successively but also concurrently. Chapter 5 addresses large-scale relationships among phi-states through the concept of stratification, according to which perceived events are streamed into separate time strata. Finally, in Chapter 6, the theories and procedures postulated throughout Chapters 1--5 are applied in a structural analysis of the opening thirty-three measures of the original composition Flux. The entire score for Flux is included at the end of the document.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2018

Mode of access: World Wide Web

ISBN: 9780612931206Subjects--Topical Terms:

649088
Music.
Index Terms--Genre/Form:

554714
Electronic books.

Time -consciousness and form in nonlinear music, and, "Flux" for large chamber ensemble.
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504 $a Includes bibliographical references
520 $a This study comprises two components: a theoretical dissertation and an original musical composition. The dissertation, "Time-Consciousness and Form in Nonlinear Music," expounds an approach to analyzing certain music from the perspective of subjective time-consciousness. Specifically, it employs phenomenological constructs to examine the structure of nonlinear musical experience. Key concepts are demonstrated through analysis of the composition, entitled Flux, and several other works: Helmut Lachenmann's Dal Niente (Interieur III) and Pression, Gyorgy Ligeti's Fragment, Salvatore Sciarrino's Fifth Piano Sonata, and John Zorn's Road Runner . Chapter 1 investigates the relationship between music and subjective time-consciousness, asserting that certain musical passages evoke a unified act of consciousness in which perceived events remain simultaneously available for syntactic and semantic revision. This phenomenon, known as the "specious present," yields a sensation of indeterminacy and, in some cases, an enduring sense of present awareness. In Chapter 2 the latter sensation is defined as a phi-state (phi-state). Conditions under which the present can be made to endure are examined, and four factors contributing to the likelihood of phi-state emergence are established. Chapter 3 reconciles certain cognitive-scientific concepts with philosophical accounts of perception in order to devise a method for classifying phi-states, and Chapter 4 examines a variety of local-level temporal relationships among phi-states. Based on the assertion that each phi-state possesses its own temporality, it is determined that phi-states can emerge not only successively but also concurrently. Chapter 5 addresses large-scale relationships among phi-states through the concept of stratification, according to which perceived events are streamed into separate time strata. Finally, in Chapter 6, the theories and procedures postulated throughout Chapters 1--5 are applied in a structural analysis of the opening thirty-three measures of the original composition Flux. The entire score for Flux is included at the end of the document.
533 $a Electronic reproduction. $b Ann Arbor, Mich. : $c ProQuest, $d 2018
538 $a Mode of access: World Wide Web
650 4 $a Music. $3 649088
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690 $a 0413
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710 2 $a The University of British Columbia (Canada). $3 1185277
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