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Joining Forces in Technology : = Three Analytical Case Studies of Early Corporate-Sponsored Electronic Music.

紀錄類型:	書目-語言資料,手稿 : Monograph/item
正題名/作者:	Joining Forces in Technology :/
其他題名:	Three Analytical Case Studies of Early Corporate-Sponsored Electronic Music.
作者:	Jurkowski, Nicholas Wright.
面頁冊數:	1 online resource (242 pages)
附註:	Source: Dissertation Abstracts International, Volume: 79-03(E), Section: A.
標題:	Music history. -
電子資源:	click for full text (PQDT)
ISBN:	9780355431810

Joining Forces in Technology : = Three Analytical Case Studies of Early Corporate-Sponsored Electronic Music.
Jurkowski, Nicholas Wright.

Joining Forces in Technology :Three Analytical Case Studies of Early Corporate-Sponsored Electronic Music. - 1 online resource (242 pages)

Source: Dissertation Abstracts International, Volume: 79-03(E), Section: A.

Thesis (Ph.D.)--University of California, Santa Barbara, 2017.

Includes bibliographical references

The close of World War II and the advent of the Cold War had effects far beyond the oft-explored realms of global alliances and domestic policy; this dissertation traces a path exploring how these grand geopolitical factors, and accompanying patterns in knowledge production, filtered from the larger intellectual climate to more localized cultural and artistic trends. I seek to show how application-focused trends in postwar knowledge and technology production (termed "Mode 2" by Michael Gibbons, Camille Limoges, Helga Nowotny, et al. in their 1994 book, The New Production of Knowledge: The Dynamics of Science and Research in Contemporary Societies) found an avenue into avant-garde art through the bourgeoning field of electronic music. This represents a break with historical trends, since the arts have generally functioned within older, discipline-focused, patronage-based models.

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

Mode of access: World Wide Web

ISBN: 9780355431810Subjects--Topical Terms:

1179487
Music history.
Index Terms--Genre/Form:

554714
Electronic books.

Joining Forces in Technology : = Three Analytical Case Studies of Early Corporate-Sponsored Electronic Music.
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500 $a Source: Dissertation Abstracts International, Volume: 79-03(E), Section: A.
500 $a Adviser: Benjamin Levy.
502 $a Thesis (Ph.D.)--University of California, Santa Barbara, 2017.
504 $a Includes bibliographical references
520 $a The close of World War II and the advent of the Cold War had effects far beyond the oft-explored realms of global alliances and domestic policy; this dissertation traces a path exploring how these grand geopolitical factors, and accompanying patterns in knowledge production, filtered from the larger intellectual climate to more localized cultural and artistic trends. I seek to show how application-focused trends in postwar knowledge and technology production (termed "Mode 2" by Michael Gibbons, Camille Limoges, Helga Nowotny, et al. in their 1994 book, The New Production of Knowledge: The Dynamics of Science and Research in Contemporary Societies) found an avenue into avant-garde art through the bourgeoning field of electronic music. This represents a break with historical trends, since the arts have generally functioned within older, discipline-focused, patronage-based models.
520 $a In addition to exploring how the historical context of the early Cold War informed the development of knowledge production generally, and electronic music specifically, I focus on three composers' activities at early electroacoustic studios in the years 1955-1965, as well as their accompanying sponsors: Milton Babbitt and the RCA Synthesizer at the Columbia-Princeton Electronic Music Studio; Mauricio Kagel at the Siemens Studio for Electronic Music in Munich; and Toru Takemitsu at Sony's Electronic Music Studios in Tokyo. I hope to show how the broader intellectual climate of the United States and its satellites in the early Cold War period helped to shape both how a number of electroacoustic music studios were established, and how music was conceived of and composed there. Ultimately, I also aim to understand how these pieces fit into their composers' larger output and individual artistic goals, while at the same time using these cases to develop a more nuanced understanding of the broader cultural significance of early electronic music.
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