Motive-Directed Meter

This dissertation isolates, defines, and explores the phenomenon of Motive-Directed Meter (MDM), which has hitherto received little scholarly attention. MDM is a listening experience evoked by music that is temporally regular enough to encourage metric listening and prediction, but irregular enough to frustrate these behaviors. MDM arises when recurring musical motives suggest parallel metric hearings, but shifting durational spans make metrical parallelism difficult to achieve. Listeners are therefore caught in a state of expectational limbo, urged to continually revise predictions that are recurrently thwarted. To approach this phenomenon, Chapter 1 describes the model of musical meter that undergirds this project, in which meter is viewed as an experiential process of temporal orientation taking place in the mind and body of a listener. Central to this dissertation is the notion that, like temporal orientation itself, the category “metric music” is not binary but graded, permitting degrees of inclusion; this removes the need to determine whether MDM can be considered “metric.” In order to accommodate this fluid conception, a flexible model of meter is introduced, which assesses the entrained listening experience according to four continua: timepoint specificity, pulse periodicity, hierarchic depth, and motivic saturation. These criteria are combined to create the multidimensional Flexible Metric Space, which accommodates all metric experiences, including Motive-Directed Meter, traditionally deep meter, and any other listening experience arising from synchronization with felt pulsation. This graded approach to membership in “metric music” allows analysts to compare and contrast musics from diverse repertoires. After Chapter 1 defines Motive-Directed Meter and the model of meter in which it is situated, Chapter 2 introduces five analytic tools appropriate to MDM. Some of these are adapted, some are newly developed, and each captures a different aspect of real-time listening. First, motive maps provide visual representations that summarize and highlight relationships between motives and durational spans, providing an overview of the interplay between these domains. Second, the variability index ranks categories of meter according to entrainment difficulty in isolation. Taken together, these two methods provide a rough picture of the shifting levels of unpredictability across a given passage of MDM. Third, Mark Gotham’s metric relations describe the relative difficulty and quality of connections between adjacent meters, further refining the processual approach undertaken here. Fourth, the metric displacement technique assesses the degree of mismatch between a listener’s expectations and realized musical events, comparing the expected metric depth—roughly, the metric strength—of certain important musical events with the “actual,” realized metric depth of those moments. This technique thereby describes the magnitude of the entrainment shift a listener must undertake in order to adjust to musical events at unexpected temporal positions. Fifth and finally, three expectation-generation methods are used to produce hypothetical sets of predictions intended to roughly approximate listener expectations at various stages of the learning process; these are local inertia, motivic inertia, and prototype methods. The utility of these analytic techniques is highlighted by way of a diverse series of analyses. Chapters 2 and 3 focus on the music of Igor Stravinsky: Chapter 2 analyzes brief passages from the Rite of Spring, the Soldier’s Tale, and Petrushka, while Chapter 3 delves deeply into three large works: the “Sacrificial Dance” and “Glorification of the Chosen One” from the Rite of Spring, and the “Feast at the Emperor’s Palace” from the Song of the Nightingale. Chapter 4 then moves beyond Stravinsky to explore the music of a large number of late twentieth- and early twenty-first century composers and popular music artists working in diverse styles and genres. The artists studied in this chapter include the composers Meredith Monk and Julia Wolfe, and the groups Rolo Tomassi and Mayors of Miyazaki. The analyses comprising this dissertation employ an experiential perspective, combining the techniques outlined above in order to better understand how we as listeners may work to orient ourselves to these pieces of music. In contrast to traditional structuralist approaches, all of the analyses presented in chapters 2-4, as well as the tools supporting them, are directed at the listening experience. Indeed, this dissertation—from its conceptions about meter and the tools it introduces, to the analyses that stem from both—is driven by a belief that the experience of the listener must lie at the heart of the analytic process. Central to all of the analyses is thus this aim: to illustrate how Motive-Directed Meter arises and to elucidate what it feels like to listen to it. With hope, this experience-driven approach may serve as a starting point for others seeking to similarly represent musical meter

Intertwined Cultural Journeys: An Autoethnography of Learning, Teaching, and Affirming Diversity through Multicultural Music

As our schools gain more and more children from different cultures and ethnicities, there is an increasing need to diversify curriculum to assist in cultivating tolerance and understanding. Drawing upon an eclectic group of theorists who highlight the importance of meaningful curricula and education, and using autoethnography as method, I explore aspects of reflective teaching and student empowerment through the medium of multicultural music education. Connections between my own cultural heritage and the cultures of my students were made through a critical evaluation of my current approach to multicultural music education. Using multiple information sources including student observations, lesson plans, and journals, four key events holding significance for my practice of multicultural music education were identified and discussed in order to illuminate teaching methods that have empowered and enriched the lives of my students. 2 In this study, Banks\u27 (2007) theory of multicultural education provides the framework for my current practice of multicultural education while Schwab\u27s (1978) four commonplaces (i.e., subject matter, teacher, learner, and milieu) are used to organize the key events discussed in this work. Freire\u27s concept of conscientization (1987) is used to chronicle key cultural events in my life that demonstrate the continued process of my critical consciousness and Greene\u27s (2001) concept of intense noticing is used to illustrate multicultural music education that encourages students to engage in imagination and empathy. Finally, Eisner\u27s (1985, 1988) concepts of educational connoisseurship and meaningful education are used to highlight ways in which aspects of my musical curricular practices speak to larger issues of educational purpose and meaning. By relaying my own personal stories and the stories of the immigrant students I teach, my hope is to convey the positive aspects of multiculturalism and multicultural music study. This study validates the need in public schools for the kind of meaningful education that brings students feelings of joy, empathy, and purpose. This study connects curriculum studies and music education with issues of social justice by highlighting the role music study can play in affirming diversity and educating for equity

Stakeholder network as a determinant to the degree of synchronization between a firm’s values and its stakeholder management strategies. A comparison between public and private companies using mission statements and corporate charitable donations.

Stakeholder theory and stakeholder management theories have gained popularity among practitioners and scholars in recent decades for both its normative and positive power. Intuitively, it is easy to assume that firms who manage for stakeholders utilize various stakeholder management strategies to realize their corporate values. Thus, this study intends to examine the degree of synchronization, or the lack thereof, between a firm’s publicly endorsed values and the values embedded in its CSR stakeholder management activity, specifically, charitable donations. More importantly, due to the different sizes and nature of the stakeholder networks faced by private and public firms, we expect the levels of synchronization to differ between the two, with the distinction that such values stray further from each other for public firms. We found that public and private firms differ in the levels of synchronization between their endorsed values and their charitable recipient organizations’ values on many semantic and psychological domains (17 categories). Interesting, contrary to our initial hypothesis, the level of discrepancy is greater among private firms than that of public firms on most domains (16 categories), which entices further research into determinants of firms’ behavior affected by institutionalized rituals

A Composite Modernist Composer : A Study of Intersections between Composition, Theorizing, and Performance in Olivier Messiaen

Different professional roles within music change over time. The evolution of modernism in twentieth century art music elevated the composer to the pinnacle of musical creativity. Accomplished modernist composers came to be regarded as intellectuals, and were expected to hold rational conceptions of their individual styles. An increased focus on intentionality in composition, and on notated scores as representations of fixed works, went hand in hand with a tendency to neglect performance in common discourses on art music. This dissertation investigates such intersections between professional roles in the influential French composer Olivier Messiaen (1908‒1992). The study builds upon a noticeable revival of modernist studies in musicology in the twenty-first century. Scholars working on twentieth century music have typically moved away from a previous reliance on composers’ own conceptualizations of their music, in the act bringing methods and concerns from postmodern musicology into their methodologies. Messiaen has frequently been treated as self-standing figure among twentieth century composers. As a contrast, his self-understanding as a composer is here historicized and investigated as part of typical intellectual predispositions among leading modernists. The study draws on recent musicological advances on composers’ writings and their recorded performances. It establishes a theoretical framework for critical approaches to both kinds of sources, as valuable complements to notated scores in investigations of what here is called composite work ontologies. In methodological terms, the dissertation builds a novel connection between analyses in specialized Messiaen scholarship and methods in textual interpretation that originated in German Romantic philosophy. Messiaen’s writings have recurrently been found wanting in systematicity and in discursive expositions of pivotal concepts and methods in composition. His manner of writing provides an example of a phenomenon that within musicology have prompted calls for a gapology, i.e., studies of discontinuities and omissions in composers’ prose and conceptualization of their own music. A fundamental premise in the dissertation is that both human selfconsciousness and communal discourses are to be expected to contain such blind spots. Consequently, scholars often need to reconstruct fundamental thought patterns that operate below the surface level in writings. This understanding and concomitant methods are put to work in two discrete articles, investigating the pivotal impact of plainchant in Messiaen’s aesthetics and the intellectual reception of his music by the philosophers Gilles Deleuze and Félix Guattari. Messiaen’s interpretations of his own organ music are investigated in a third article, in which performance analysis is informed by deepened attention to the composer’s ideals of successful interpretations. The methods and theoretical framework formulated in the cover essay are also integral parts of the dissertation’s findings. They propose that a current broader revisiting of musical modernism provides a fertile framework for further work on Messiaen, performance and intellectual ideas operative in his compositions. The hermeneutical stance developed here is intended to serve similar carefully contextualized investigations of the composer’s writings and activities. The first article shows that Messiaen’s musical thought and some of his methods in composition were more thoroughly ingrained in a late Romantic paradigm of expressivity than many scholars have noted. It also reveals how he adopted vital theoretical premises from previous authors, turned them into musical ideas, and continued to adapt his use of them to developments within his own musical style. The second article opens new vistas for more thorough analyses of Messiaen as a composer-performer on the organ. In a novel manner, it suggests the need of considering Messiaen’s distinct ideas concerning the aims of musical interpretation, and their impact on his style of playing. This approach stresses the centrality of communicating the musical ideas and narrative content in individual pieces, to which notated scores are a means. The analysis shows that Messiaen at times perceived such ideas in a piece quite differently in his roles as a composer and as a performer. The third article corroborates previous observations concerning how Messiaen’s verbalization of his own music shaped its reception. At the same time, it highlights the impact of his student Pierre Boulez’s historiography of musical modernism, including the particular historical role it ascribed to Messiaen. The study also reveals how Deleuze and Guattari grasped pivotal aspects of Messiaen’s compositional methods on purely theoretical grounds, in the act facilitating philosophical employments of key musical techniques well beyond the composer’s stated understanding of them.Professionella roller inom musiken förändras över tid. Inom 1900-talets modernism kom tonsättarens ställning att höjas över andra roller inom musiklivet. Framstående tonsättare kom att betraktas som del av kategorin intellektuella i samhället och förväntades presentera välmotiverade ställningstaganden bakom sina kompositioner. En förhöjd värdering av sådana rationella aspekter gick hand i hand med en syn på noterade partitur som representationer av fixerade verk. Samtidigt framhävdes interpreters betydelse typiskt sett inte i diskussioner och analyser av konstmusik. Denna avhandling undersöker skärningspunkter mellan olika musikaliska yrkesroller hos den inflytelserike franske tonsättaren Olivier Messiaen (1908‒1992). Dess angreppssätt bygger på en ny våg av musikvetenskapliga studier av modernism som epok och begrepp. Studier kring 1900-talets konstmusik har rört sig bort från tonsättares egna sätt att teoretisera kring sin egen musik, i många fall inspirerade av metoder och frågeställningar i postmodern musikvetenskap. Messiaen har ofta behandlats som en fristående gestalt inom 1900-talets musik. Som en kontrast historiseras och undersöks här hans egna uppfattningar om rollen som tonsättare, inklusive dess växelspel med teoretiska idéer om musik samt med interpretation, som en del av mer generella tankemönster bland ledande modernistiska tonsättare. Avhandlingen tar intryck från nya musikvetenskapliga tolkningar av tonsättares skrifter och deras inspelade framföranden. Den etablerar ett teoretiskt ramverk för kritiska förhållningssätt till båda typerna av källor, som här betraktas som värdefulla komplement till partitur i undersökningar av vad som här kallas komplexa verkontologier. I metodologiskt avseende etablerar avhandlingen ett nytt samband mellan analyser inom den specialiserade Messiaenforskningen och texttolkningsmetoder med ursprung i tysk romantisk filosofi. Messiaens skrifter har återkommande funnits brista i systematik och diskursiva förklaringar av centrala begrepp och kompositionsmetoder. Hans skrivsätt utgör därmed ett exempel på ett fenomen som fått musikvetare att påtala behovet att studera diskontinuiteter och innehållsliga luckor i tonsättares prosa och teoretiserande av sin egen musik. En grundläggande utgångspunkt i avhandlingen är att både mänskligt självmedvetande och gemensamma diskurser kan förväntas innehålla sådana blinda fläckar. Följaktligen behöver forskare ofta rekonstruera grundläggande tankemönster som präglar skrifter, men utan att explicit exponeras i deras ytskikt. Denna syn, och metoder som växer ur den, präglar två av avhandlingens artiklar. Dessa undersöker den påtagliga betydelsen av gregoriansk sång i Messiaens estetik, samt receptionen av hans musik i filosoferna Gilles Deleuzes och Félix Guattaris skrifter. Messiaens tolkningar av sin egen orgelmusik undersöks i en tredje artikel, där interpretationsanalys tillåts präglas av ett fördjupat intresse för tonsättarens egna ideal kring lyckade uttolkningar. De metoder och teoretiska ramar som formuleras i kappan utgör delar av avhandlingens resultat. De indikerar att en vidare förnyad forskning kring musikalisk modernism utgör ett fruktbart ramverk för framtida studier av Messiaen och teoretiska idéer som präglar hans kompositioner. Den hermeneutiska hållning som utvecklas här är avsedd att tjäna som underlag även för liknande noggrant kontextualiserade studier av tonsättarens skrifter och aktiviteter. Den första artikeln visar att Messiaens musikaliska tänkande och flera av hans kompositionsmetoder var mer grundligt förankrade i ett senromantiskt expressivt paradigm än vad många forskare har noterat. Den visar också hur han anammade centrala teoretiska utgångspunkter från tidigare författare, omvandlade dem till musikaliska idéer, och fortsatte att anpassa sitt bruk av dem i takt med förändringar inom hans egen stil. Den andra artikeln presenterar ingångar för djupare analyser av Messiaen som interpret av sina egna orgelverk. Studien visar, på ett nytt sätt, på ett behov att överväga Messiaens specifika idéer om syften med musikalisk interpretation, och betydelsen av dessa idéer för hans eget sätt att spela. Denna ansats framhäver ett fokus på att kommunicera de musikaliska idéerna och det narrativa innehållet i enskilda verk, ett ändamål för vilket partitur är ett medel. Analysen visar att Messiaen i vissa fall förstod sådana idéer i ett stycke påtagligt annorlunda i sina roller som tonsättare och som interpret. Den tredje artikeln bekräftar tidigare iakttagelser om hur Messiaens egen teoretiska uttolkning av sin egen musik format dess reception. Samtidigt understryker den betydelsen av hans student Pierre Boulez historiografi kring musikalisk modernism, inklusive den specifika roll som denna tillskriver Messiaen. Studien avslöjar också hur Deleuze och Guattari lyckades analysera väsentliga aspekter av Messiaens kompositionsmetoder på rent teoretiska grunder, och därmed möjliggöra deras filosofiska användning av centrala musikaliska tekniker bortom tonsättarens egen förståelse av dem

Proceedings of the 2019 Berry Summer Thesis Institute

Thanks to a gift from the Berry Family Foundation and the Berry family, the University Honors Program launched the Berry Summer Thesis Institute in 2012. The institute introduces students in the University Honors Program to intensive research, scholarship opportunities and professional development. Each student pursues a 12-week summer thesis research project under the guidance of a UD faculty mentor. This contains the product of the students\u27 research

Copyright\u27s Communications Policy

There is something for everyone to dislike about early twenty-first century copyright. Owners of content say that newer and better technologies have made it too easy to be a pirate. Easy copying, they say, threatens the basic incentive to create new works; new rights and remedies are needed to restore the balance. Academic critics instead complain that a growing copyright gives content owners dangerous levels of control over expressive works. In one version of this argument, this growth threatens the creativity and progress that copyright is supposed to foster; in another, it represents an enclosure movement that threatens basic freedoms of expression. Copyright, these critics argue, has wandered beyond its proper boundaries. They also contend that the balance must be restored. What all these arguments have in common is a focus on copyright\u27s authorship function. Copyright policy, in this view, is fundamentally about providing a balance of incentives for authors to effectuate one of several possible goals, such as progress of science, democratic governance, or the system of free expression. Few disagree that these are the goals; the main disagreement is over what means best serve these ends. Yet the recent history of copyright forces us to ask whether this debate can capture what is right and wrong with the law. Both sides point to the same problem: a tragedy of authorship caused by their opponents. Critics of copyright say that aggressive over-enforcement deters those who would borrow from others to create, such as music samplers, satirists, and filmmakers. Copyright\u27s backers warn, conversely, that piracy threatens the very livelihood of the artist and creative industries. The story of twin tragedies, however, creates an indeterminate debate. Both positions have difficulty demonstrating empirically, as opposed to anecdotally, that either overprotection or piracy has stilled the engines of creativity. Any putative change in copyright protection can both be defended as a necessary creative incentive and attacked as an unnecessary control

Cultural interpretations of Socratic and Confucian education philosophy.

Socrates and Confucius constitute roots of western and eastern civilization respectively, as well as represent very different cultural values and educational traditions. Because of the very limited existing literature on the study of their educational philosophies, this paper is devoted to a comparative study of their educational philosophies, attempting to examine their historical and cultural contexts and unravel their implications on the current educational practices. The method employed in the study is hermeneutics, or interpretation of the literary texts. At the same time, the study is also cross-cultural in nature. Both of the philosophers lived around 4-5th century B.C.E., but there were huge differences in the social and cultural environments in which they lived. Different cultural and social factors in ancient Greece and China led to differences in Socratic and Confucian approaches to learning. In this paper, similarities and differences in Socratic and Confucian educational philosophy have been examined from the perspectives of the aim of education, the content of education, the teaching process and the nature of education. It is argued that the epistemological differences of the two philosophers were interwoven with their respective cultural values. Individualistic and rationalist traits were embedded in Socrates’ education, while Confucius’ teaching was distinctively marked with collective and intuitive characteristics. Their thoughts were the product of their own culture, and at the same time, the thoughts of philosophers also left deep impacts on the development of each culture. Their philosophies of education impacted not only their disciples, but Western and Chinese educational practice as a whole. It has been found that the Socratic traits of individualism and rationality are embedded in Western educational practice, while the Confucian heritage and the collective-intuitive tradition in the Chinese education. The current study is significant in helping readers gain a better understanding of the philosophers from a cultural perspective. In the same way, educational practice must be understood from multiple perspectives. It is suggested that cultural contexts should always be taken into consideration when studying a particular teaching or learning style. In spite of its limitations, the researcher hopes that the study will help western and Chinese teachers and learners gain a better understanding of one another

Non-Standard Sound Synthesis with Dynamic Models

Full version unavailable due to 3rd party copyright restrictions.This Thesis proposes three main objectives: (i) to provide the concept of a new generalized non-standard synthesis model that would provide the framework for incorporating other non-standard synthesis approaches; (ii) to explore dynamic sound modeling through the application of new non-standard synthesis techniques and procedures; and (iii) to experiment with dynamic sound synthesis for the creation of novel sound objects. In order to achieve these objectives, this Thesis introduces a new paradigm for non-standard synthesis that is based in the algorithmic assemblage of minute wave segments to form sound waveforms. This paradigm is called Extended Waveform Segment Synthesis (EWSS) and incorporates a hierarchy of algorithmic models for the generation of microsound structures. The concepts of EWSS are illustrated with the development and presentation of a novel non-standard synthesis system, the Dynamic Waveform Segment Synthesis (DWSS). DWSS features and combines a variety of algorithmic models for direct synthesis generation: list generation and permutation, tendency masks, trigonometric functions, stochastic functions, chaotic functions and grammars. The core mechanism of DWSS is based in an extended application of Cellular Automata. The potential of the synthetic capabilities of DWSS is explored in a series of Case Studies where a number of sound object were generated revealing (i) the capabilities of the system to generate sound morphologies belonging to other non-standard synthesis approaches and, (ii) the capabilities of the system of generating novel sound objects with dynamic morphologies. The introduction of EWSS and DWSS is preceded by an extensive and critical overview on the concepts of microsound synthesis, algorithmic composition, the two cultures of computer music, the heretical approach in composition, non- standard synthesis and sonic emergence along with the thorough examination of algorithmic models and their application in sound synthesis and electroacoustic composition. This Thesis also proposes (i) a new definition for “algorithmic composition”, (ii) the term “totalistic algorithmic composition”, and (iii) four discrete aspects of non-standard synthesis