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Musical Creative Frameworks in the L...

Rogers, Daniel T.

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Musical Creative Frameworks in the Late Fifteenth and Early Sixteenth Centuries.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Musical Creative Frameworks in the Late Fifteenth and Early Sixteenth Centuries./
Author:	Rogers, Daniel T.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2018,
Description:	168 p.
Notes:	Source: Dissertations Abstracts International, Volume: 79-11, Section: A.
Contained By:	Dissertations Abstracts International79-11A.
Subject:	Music history. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10812101
ISBN:	9780355947601

Musical Creative Frameworks in the Late Fifteenth and Early Sixteenth Centuries.
Rogers, Daniel T.

Musical Creative Frameworks in the Late Fifteenth and Early Sixteenth Centuries. - Ann Arbor : ProQuest Dissertations & Theses, 2018 - 168 p.

Source: Dissertations Abstracts International, Volume: 79-11, Section: A.

Thesis (Ph.D.)--Indiana University, 2018.

This item must not be added to any third party search indexes.

The early modern compositional process remains a nebulous act. Despite the intriguing conclusions of a number of modern musicologists concerning compositional tools and techniques in the Renaissance, it continues to defy a precise description. In part, this is due to the fact that composers employed various compositional approaches. While some evidence suggests that composers made use of notation in composition, other evidence supports the engagement of unwritten, or oral, compositional processes. To these observations, this dissertation adds the awareness of two broader paradigms of artistic production-here called creative frameworks-that guided compositional decisions. By placing musical composition within the broader intellectual and cultural context of artistic production, this dissertation argues that music occupied a place in both a corporeal and an intellectual creative framework. In the first, music aligns with the disciplines of the mechanical arts in its engagement with the physical body and senses in artistic creation. In this process composers rely on a set of guiding principles gained through experience and recorded in their muscle or sensual memory. In the second, they build on the foundation of speculative music as part of the liberal arts. In this approach they draw on abstract, largely intellectual, theoretical systems in their work. As a result they interact with musical works as texts that can be revised, referenced, and imitated.

ISBN: 9780355947601Subjects--Topical Terms:

3342382
Music history.
Subjects--Index Terms:

Late fifteenth and early sixteenth centuries

Musical Creative Frameworks in the Late Fifteenth and Early Sixteenth Centuries.
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500 $a Advisor: Zanovello, Giovanni.
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506 $a This item must not be added to any third party search indexes.
506 $a This item must not be sold to any third party vendors.
520 $a The early modern compositional process remains a nebulous act. Despite the intriguing conclusions of a number of modern musicologists concerning compositional tools and techniques in the Renaissance, it continues to defy a precise description. In part, this is due to the fact that composers employed various compositional approaches. While some evidence suggests that composers made use of notation in composition, other evidence supports the engagement of unwritten, or oral, compositional processes. To these observations, this dissertation adds the awareness of two broader paradigms of artistic production-here called creative frameworks-that guided compositional decisions. By placing musical composition within the broader intellectual and cultural context of artistic production, this dissertation argues that music occupied a place in both a corporeal and an intellectual creative framework. In the first, music aligns with the disciplines of the mechanical arts in its engagement with the physical body and senses in artistic creation. In this process composers rely on a set of guiding principles gained through experience and recorded in their muscle or sensual memory. In the second, they build on the foundation of speculative music as part of the liberal arts. In this approach they draw on abstract, largely intellectual, theoretical systems in their work. As a result they interact with musical works as texts that can be revised, referenced, and imitated.
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