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Performing liveness: Musicians, mac...

Sanden, Paul C.

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Performing liveness: Musicians, machines, and mediatization.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Performing liveness: Musicians, machines, and mediatization./
Author:	Sanden, Paul C.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2008,
Description:	249 p.
Notes:	Source: Dissertation Abstracts International, Volume: 69-11, Section: A, page: 4181.
Contained By:	Dissertation Abstracts International69-11A.
Subject:	Music. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=NR43113
ISBN:	9780494431139

Performing liveness: Musicians, machines, and mediatization.
Sanden, Paul C.

Performing liveness: Musicians, machines, and mediatization. - Ann Arbor : ProQuest Dissertations & Theses, 2008 - 249 p.

Source: Dissertation Abstracts International, Volume: 69-11, Section: A, page: 4181.

Thesis (Ph.D.)--The University of Western Ontario (Canada), 2008.

This dissertation is primarily concerned with developing a method for understanding how the use of electronic technologies in many contemporary musical practices challenges conventional definitions of music performance. It outlines a theoretical framework for analyzing liveness in electronically mediated music, exploring the role this concept plays in defining musical meaning, even when electronic mediation would seem to threaten those musical qualities traditionally thought to be communicated in live performance. Central to these investigations is the assertion that liveness emerges from dynamic tensions inherent in mediated musical contexts between music as an acoustic human utterance and musical sound as something produced or altered by machines.

ISBN: 9780494431139Subjects--Topical Terms:

516178
Music.

Performing liveness: Musicians, machines, and mediatization.
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100 1 $a Sanden, Paul C. $3 3281767
245 1 0 $a Performing liveness: Musicians, machines, and mediatization.
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2008
300 $a 249 p.
500 $a Source: Dissertation Abstracts International, Volume: 69-11, Section: A, page: 4181.
500 $a Includes supplementary digital materials.
502 $a Thesis (Ph.D.)--The University of Western Ontario (Canada), 2008.
520 $a This dissertation is primarily concerned with developing a method for understanding how the use of electronic technologies in many contemporary musical practices challenges conventional definitions of music performance. It outlines a theoretical framework for analyzing liveness in electronically mediated music, exploring the role this concept plays in defining musical meaning, even when electronic mediation would seem to threaten those musical qualities traditionally thought to be communicated in live performance. Central to these investigations is the assertion that liveness emerges from dynamic tensions inherent in mediated musical contexts between music as an acoustic human utterance and musical sound as something produced or altered by machines.
520 $a The first two chapters introduce liveness as a multivalent concept, proposing that liveness is understood in a variety of ways not sufficiently theorized in art music scholarship. While liveness has historically been understood to indicate simply "performance without electronic mediation," these chapters suggest that ideas and practices of music's performance are actually communicated in a number of different ways through various instantiations of electronically mediated music. Chapters Three through Six each present a different case study, addressing selected conditions of liveness in greater depth. Chapter Three explores how corporeal liveness is evident in recordings by Glenn Gould. Chapter Four presents interactive liveness as a useful concept for analyzing live electronic music. Taking John Oswald's "Vane" as an example, Chapter Five proposes that important meanings may be uncovered in analyses of acousmatic music by attending to a sense of virtual liveness in such recordings. Chapter Six discusses how corporeal liveness, interactive liveness, and virtual liveness all play a significant part in determining meaning in a performance of Omar Daniel's The Flaying of Marsyas.
520 $a In each of these chapters, liveness is understood as an important part of how we perceive relationships between musicians and electronic sound technologies. These relationships, it is argued, are far more complex than a simple oppositional binary such as musician/machine can explain. As such, it is also argued that liveness should be understood as a similarly fluid concept, rather than as a fixed ontological state indicating the absence of electronic mediation.
520 $a Keywords. liveness, music and technology, music performance, mediatization, music perception, live electronic music, interactive computer music, music recordings, acousmatic music, music and embodiment, music and interaction, music and virtuality, music in social contexts, music and cyborgs.
590 $a School code: 0784.
650 4 $a Music. $3 516178
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710 2 $a The University of Western Ontario (Canada). $3 1017622
773 0 $t Dissertation Abstracts International $g 69-11A.
790 $a 0784
791 $a Ph.D.
792 $a 2008
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=NR43113