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Manipulations and Perceptions of Tim...

Haering, Nathaniel,

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Manipulations and Perceptions of Time, Timbre, Texture, and Physical Gesture in Acoustic and Electroacoustic Music /

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Manipulations and Perceptions of Time, Timbre, Texture, and Physical Gesture in Acoustic and Electroacoustic Music // Nathaniel Haering.
作者:	Haering, Nathaniel,
面頁冊數:	1 electronic resource (149 pages)
附註:	Source: Dissertations Abstracts International, Volume: 86-07, Section: B.
Contained By:	Dissertations Abstracts International86-07B.
標題:	Musical composition. -
電子資源:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=31640912
ISBN:	9798302173560

Manipulations and Perceptions of Time, Timbre, Texture, and Physical Gesture in Acoustic and Electroacoustic Music /
Haering, Nathaniel,

Manipulations and Perceptions of Time, Timbre, Texture, and Physical Gesture in Acoustic and Electroacoustic Music /Nathaniel Haering. - 1 electronic resource (149 pages)

Source: Dissertations Abstracts International, Volume: 86-07, Section: B.

In this paper, I will analyze three substantial works created while studying at UC San Diego, to facilitate friction (2020) for violin and live electronics, Spate III (2022) for amplified chamber ensemble, and untitled (2023) for amplified septet and live electronics, as case studies to convey and elucidate the compositional approaches, challenges, questions, and concerns that are most exciting to me at this point in time and most critical to the function and (at least my) understanding of my recent works. Other pieces, both recent and from the more distant past, will be mentioned in brief to aid in connecting these works together and to better assemble a compelling narrative of how my compositional practice and resulting compositions have evolved over the course of my doctoral journey. These three works will be primarily discussed in terms of the manipulation and distortion of linear and nonlinear perceptions of time, the sculpting of granularity/microsounds, the physicality of/physical exertion inherent in extended instrumental techniques and improvisatory materials, trajectories, and vectors over time, and the spectromorphology of the interactions of instrumental and electronically produced sounds. The writings of Jonathan Kramer, Gerard Grisey, Curtis Roads, Denis Smalley, and a myriad of others will provide an analytical framework and foundation and be called upon to reinforce the arguments and perspectives put forth about my own work throughout this paper.

English

ISBN: 9798302173560Subjects--Topical Terms:

3289630
Musical composition.
Subjects--Index Terms:

Compositional approaches

Manipulations and Perceptions of Time, Timbre, Texture, and Physical Gesture in Acoustic and Electroacoustic Music /
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520 $a In this paper, I will analyze three substantial works created while studying at UC San Diego, to facilitate friction (2020) for violin and live electronics, Spate III (2022) for amplified chamber ensemble, and untitled (2023) for amplified septet and live electronics, as case studies to convey and elucidate the compositional approaches, challenges, questions, and concerns that are most exciting to me at this point in time and most critical to the function and (at least my) understanding of my recent works. Other pieces, both recent and from the more distant past, will be mentioned in brief to aid in connecting these works together and to better assemble a compelling narrative of how my compositional practice and resulting compositions have evolved over the course of my doctoral journey. These three works will be primarily discussed in terms of the manipulation and distortion of linear and nonlinear perceptions of time, the sculpting of granularity/microsounds, the physicality of/physical exertion inherent in extended instrumental techniques and improvisatory materials, trajectories, and vectors over time, and the spectromorphology of the interactions of instrumental and electronically produced sounds. The writings of Jonathan Kramer, Gerard Grisey, Curtis Roads, Denis Smalley, and a myriad of others will provide an analytical framework and foundation and be called upon to reinforce the arguments and perspectives put forth about my own work throughout this paper.
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653 $a Electroacoustic music
653 $a Microsounds
653 $a Spectromorphology
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690 $a 0641
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