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The Names of Minimalism : = Authorship and the Historiography of Dispute in New York Minimalism, 1960-1982.

紀錄類型:	書目-語言資料,手稿 : Monograph/item
正題名/作者:	The Names of Minimalism :/
其他題名:	Authorship and the Historiography of Dispute in New York Minimalism, 1960-1982.
作者:	Nickleson, Patrick.
面頁冊數:	1 online resource (318 pages)
附註:	Source: Dissertation Abstracts International, Volume: 79-05(E), Section: A.
標題:	Music. -
電子資源:	click for full text (PQDT)
ISBN:	9780355490206

The Names of Minimalism : = Authorship and the Historiography of Dispute in New York Minimalism, 1960-1982.
Nickleson, Patrick.

The Names of Minimalism :Authorship and the Historiography of Dispute in New York Minimalism, 1960-1982. - 1 online resource (318 pages)

Source: Dissertation Abstracts International, Volume: 79-05(E), Section: A.

Thesis (Ph.D.)--University of Toronto (Canada), 2017.

Includes bibliographical references

Several of the composers we most frequently label "minimalists" have been engaged in disputes about musical authorship with fellow composers and former colleagues. This dissertation uses those disputes as starting points towards understanding minimalism as a practice of authorial critique. Drawing on the philosopher Jacques Ranciere, I also examine the historiographical practices that have frequently denied that critique any efficacy.

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

Mode of access: World Wide Web

ISBN: 9780355490206Subjects--Topical Terms:

649088
Music.
Index Terms--Genre/Form:

554714
Electronic books.

The Names of Minimalism : = Authorship and the Historiography of Dispute in New York Minimalism, 1960-1982.
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500 $a Source: Dissertation Abstracts International, Volume: 79-05(E), Section: A.
500 $a Adviser: Sherry D. Lee.
502 $a Thesis (Ph.D.)--University of Toronto (Canada), 2017.
504 $a Includes bibliographical references
520 $a Several of the composers we most frequently label "minimalists" have been engaged in disputes about musical authorship with fellow composers and former colleagues. This dissertation uses those disputes as starting points towards understanding minimalism as a practice of authorial critique. Drawing on the philosopher Jacques Ranciere, I also examine the historiographical practices that have frequently denied that critique any efficacy.
520 $a In the introduction I outline Ranciere's method of dispute, and how histories of minimalism have used composers' later renunciations to deny the minimalist critique of authorship any efficacy. To exemplify this method, I consider the "confiscations" in effect when musicologists read Reich's "Music as a Gradual Process" and Pendulum Music. Chapter 1 introduces Rancierian concepts of importance throughout my study---politics and police, the pedagogic relation, noise and "low music"---through considering Ranciere's disputes with his professor Louis Althusser, his classmate Jacques-Alain Miller, and his "friend-enemy" Alain Badiou. Chapter 2 examines the conflict between La Monte Young and Tony Conrad over the authorial propriety of the music they created together in the Theatre of Eternal Music. I draw on primary documents to argue that the ensemble functioned as the first appearance of compositional collectivism in western art music. Chapter 3 considers a pair of disputes: between Terry Riley and Steve Reich, and, between Reich and Philip Glass. Through a close reading of interviews from the late 1980s and early 1990s, I show how these composers retroactively articulated a singular minimalism by effacing collaboration in favour of pedagogic transmission. Chapter 4 leaps ahead into the era of the "death of minimalism" to consider the relationship between Glenn Branca and Rhys Chatham. I focus in particular on the diverse applications of the terms "minimal" in in late 1970s downtown New York to show the many "indistinct minimalisms" (including punk and no wave) ongoing at the time. In the conclusion, I articulate a Rancierian theory of names and naming to tie together several themes from the different case studies. My concern is to ask how the authorial name---whether proper, collective, or improper---attached to a piece of music impacts our historiographical treatment.
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650 4 $a Philosophy. $3 559771
650 4 $a Music history. $3 1179487
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