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Linguistic Influence in Digital Musi...

Phillips, Andrew.

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Linguistic Influence in Digital Music: Toward a Critical Theory for Music Software Practices.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Linguistic Influence in Digital Music: Toward a Critical Theory for Music Software Practices./
Author:	Phillips, Andrew.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2023,
Description:	431 p.
Notes:	Source: Dissertations Abstracts International, Volume: 85-07, Section: A.
Contained By:	Dissertations Abstracts International85-07A.
Subject:	Music. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=30811587
ISBN:	9798381421200

Linguistic Influence in Digital Music: Toward a Critical Theory for Music Software Practices.
Phillips, Andrew.

Linguistic Influence in Digital Music: Toward a Critical Theory for Music Software Practices. - Ann Arbor : ProQuest Dissertations & Theses, 2023 - 431 p.

Source: Dissertations Abstracts International, Volume: 85-07, Section: A.

Thesis (Ph.D.)--New York University, 2023.

This thesis addresses a problem of how computer technology can constrain the creative freedom of musical artists and how such constraints can be overcome. It is argued that software for music applications contains embedded cultural and commercial biases that, like a procrustean bed, define what music parameters an artist must conform to and cannot exceed in the production of their work. The embedding of such limiting factors is further confirmed both by interviews with music software developers as well as technical analyses of a selection of domain specific coding languages for "musical programming," providing understanding of these limiting factors within both a social and a techno-historical context. It is further argued that by so limiting artistic creativity to the boundaries that software defines, embedded biases not only actively prevent the musical artist from performing their epistemological role of expanding our understanding of sound and music that transcends those boundaries, but also represent part of the continuing privatization of forms of human creativity. The musician and sound artist perform social roles of developing and integrating new classifications of phenomena (like sound) that help us better discern, understand, and appreciate all that we can experience as a social whole. But the inscription of musical activities into the formal structures of code and software systems inevitably privileges certain styles and ways of making music, which can only support the social interests of a few who own and control the development of these systems. To allow the artist to perform their important social and epistemological roles, alternative forms are considered and proposed to overcome the limitations of existing music software, allowing the artist more creative freedom when using software in ways that go beyond systems that help objectify their creativity into commodity form. Focus is directed on free and open software platforms where musicians and programmers can collectively interact at multiple levels in the development and editing of both software and music to better meet both their individual and collective creative goals.

ISBN: 9798381421200Subjects--Topical Terms:

516178
Music.
Subjects--Index Terms:

Music applications

Linguistic Influence in Digital Music: Toward a Critical Theory for Music Software Practices.
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