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You searched for subject:(jonathan kramer). Showing records 1 – 2 of 2 total matches.

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Louisiana State University

1. Blandino, Michael Vincent. Musical time and revealed timelessness.

Degree: MM, Music, 2006, Louisiana State University

Scholarship on musical time recognizes the depiction of timelessness in music as a possibility. However, many theories of musical timelessness center around total stasis as the ideal method for creation of the effect, tolerating relative motion only out of necessity and viewing such motion as a weakening force in this regard. There is little investigation of the interaction between other modes of musical time and the mode of timelessness. Hence, no theory offers a comprehensive expansion of scope to include more complex depictions of timelessness in relation to time. This paper addresses these points, offering a framework for understanding musical timelessness as both an immediate and disclosed phenomenon. Support for the argument in favor of expanding the scope of envisioning musical timelessness is found through analysis of four final movements: "Der Abschied" from Gustav Mahler's Das Lied von der Erde, "Apothéose" from Igor Stravinsky's Apollo, "Louange pour l'Immortalité de Jésus" from Olivier Messiaen's Quatuour pour la Fin du Temps, and "Sea-Nocturne (for the end of time...)" from George Crumb's Vox Balaenae.

Subjects/Keywords: music theory; ritual time; susanne langer; virtual time; lewis rowell; jonathan kramer; stasis; moment time; vertical time

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APA (6th Edition):

Blandino, M. V. (2006). Musical time and revealed timelessness. (Masters Thesis). Louisiana State University. Retrieved from etd-04062006-155730 ; https://digitalcommons.lsu.edu/gradschool_theses/1928

Chicago Manual of Style (16th Edition):

Blandino, Michael Vincent. “Musical time and revealed timelessness.” 2006. Masters Thesis, Louisiana State University. Accessed February 27, 2020. etd-04062006-155730 ; https://digitalcommons.lsu.edu/gradschool_theses/1928.

MLA Handbook (7th Edition):

Blandino, Michael Vincent. “Musical time and revealed timelessness.” 2006. Web. 27 Feb 2020.

Vancouver:

Blandino MV. Musical time and revealed timelessness. [Internet] [Masters thesis]. Louisiana State University; 2006. [cited 2020 Feb 27]. Available from: etd-04062006-155730 ; https://digitalcommons.lsu.edu/gradschool_theses/1928.

Council of Science Editors:

Blandino MV. Musical time and revealed timelessness. [Masters Thesis]. Louisiana State University; 2006. Available from: etd-04062006-155730 ; https://digitalcommons.lsu.edu/gradschool_theses/1928

2. Shelley, Peter James. Rethinking Minimalism: At the Intersection of Music Theory and Art Criticism.

Degree: PhD, 2013, University of Washington

By now most scholars are fairly sure of what minimalism is. Even if they may be reluctant to offer a precise theory, and even if they may distrust canon formation, members of the informed public have a clear idea of who the central canonical minimalist composers were or are. Sitting front and center are always four white male Americans: La Monte Young, Terry Riley, Steve Reich, and Philip Glass. This dissertation negotiates with this received wisdom, challenging the stylistic coherence among these composers implied by the term minimalism and scrutinizing the presumed neutrality of their music. This dissertation is based in the acceptance of the aesthetic similarities between minimalist sculpture and music. Michael Fried's essay "Art and Objecthood," which occupies a central role in the history of minimalist sculptural criticism, serves as the point of departure for three excursions into minimalist music. The first excursion deals with the question of time in minimalism, arguing that, contrary to received wisdom, minimalist music is not always well understood as static or, in Jonathan Kramer's terminology, vertical. The second excursion addresses anthropomorphism in minimalist music, borrowing from Fried's concept of (bodily) presence. Relying heavily on Adriana Cavarero's philosophy of vocality, differences in bodily expression are explored within and between the music of Young and Reich. The final excursion deals with objecthood itself, disrupting the commonplace that minimalism makes no political or cultural statements. Following art critic Anna Chave, I argue that tropes of masculinity have been disguised in minimalist music by the presumption of neutrality. Masculinity, however, must be redefined with the onset of the 1960s. Following Peter Stearns and Michael Kimmel, I argue for an austere, isolationist masculinity, whose presumed omnipotence produces an immanent fragility. Reich's minimalism in particular can be distinguished from that of Riley and Young on account of its recontextualization of American masculinity. Overall this dissertation is a dissertation of difference. By attending to time, corporeality, and masculinity - subjects too often subordinated within the field of music theory - I would undermine the stabilizing and homogenizing claims implicit in the stylistic heading of "minimalism." Advisors/Committee Members: Bernard, Jonathan W (advisor).

Subjects/Keywords: Adriana Cavarero; Jonathan Kramer; Michael Fried; Minimalism; Minimalist Music; Minimalist Sculpture; Music; Art criticism; music

…conclude with a few comments on the connection between form, 8 Jonathan Kramer, The Time of… …time in minimalist music. In order to explore this connection I rely principally on Jonathan… 

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6th Edition):

Shelley, P. J. (2013). Rethinking Minimalism: At the Intersection of Music Theory and Art Criticism. (Doctoral Dissertation). University of Washington. Retrieved from http://hdl.handle.net/1773/24092

Chicago Manual of Style (16th Edition):

Shelley, Peter James. “Rethinking Minimalism: At the Intersection of Music Theory and Art Criticism.” 2013. Doctoral Dissertation, University of Washington. Accessed February 27, 2020. http://hdl.handle.net/1773/24092.

MLA Handbook (7th Edition):

Shelley, Peter James. “Rethinking Minimalism: At the Intersection of Music Theory and Art Criticism.” 2013. Web. 27 Feb 2020.

Vancouver:

Shelley PJ. Rethinking Minimalism: At the Intersection of Music Theory and Art Criticism. [Internet] [Doctoral dissertation]. University of Washington; 2013. [cited 2020 Feb 27]. Available from: http://hdl.handle.net/1773/24092.

Council of Science Editors:

Shelley PJ. Rethinking Minimalism: At the Intersection of Music Theory and Art Criticism. [Doctoral Dissertation]. University of Washington; 2013. Available from: http://hdl.handle.net/1773/24092

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