Augeries, for Flute, Clarinet, Percussion and Tape: Aesthetic Discussion and Theoretical Analysis Metadata

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Title

  • Main Title Augeries, for Flute, Clarinet, Percussion and Tape: Aesthetic Discussion and Theoretical Analysis

Creator

  • Author: Gedosh, David
    Creator Type: Personal

Contributor

  • Chair: Nelson, Jon C.
    Contributor Type: Personal
    Contributor Info: Major Professor
  • Committee Member: Schwarz, David
    Contributor Type: Personal
    Contributor Info: Minor Professor
  • Committee Member: May. Andrew
    Contributor Type: Personal

Publisher

  • Name: University of North Texas
    Place of Publication: Denton, Texas

Date

  • Creation: 2009-05
  • Digitized: 2009-09-18

Language

  • English

Description

  • Content Description: Augeries is a multi-channel electro-acoustic composition for flute, clarinet, percussion, and tape. It is intended to be diffused through an 8-channnel playback system. Inspired by the first four lines of William Blake's Augeries of Innocence, Augeries captures the qualitative aspects of Blake's poetry by presenting the listener with an equally aperspectival aesthetic experience. The small-scale structure reflected on the large-scale form - the infusion of vastness and expansiveness into the fragile and minute. Augeries incorporates techniques of expansion and contraction, metonymic relationships, dilation and infolding of time, and structured improvisation to create an experience that is designed to explore the notion of musical time, and to bring to the listener the sense of time freedom. The critical analysis suggests that the increase in the notions of musical time, the aesthetics with which they conform, and the new time forms created, encapsulate communicative significance. This significance exists within a horizon of meaning. Semiotics illuminates an understanding of the structuring techniques used to render time as an area of artistic play. Understanding the aesthetics and mechanisms through which these techniques can be used constitutes a shared horizon of meaning. The concepts of cultural phenomenologist Jean Gebser, as explicated in The Ever-Present Origin, are used to contextualize these notions, through a description of the various consciousness structures with specific attention to the space-time relationships. Of specific concern are the aperspectival manifestations in music in the twentieth century and beyond. Special emphasis is given to the area of electro-acoustic music, particularly spectral music. The theoretical analysis explores how the various techniques are used to create an aperspectival experience, and includes specific descriptions of the technique of refraction as metonymy, and pitch set analysis of the technique of expansion and contraction.

Subject

  • Keyword: chamber music
  • Keyword: Aesthetics
  • Keyword: musical time
  • Keyword: computer music
  • Library of Congress Subject Headings: Quintets (Clarinet, flute, electronics, percussion) -- Scores.

Collection

  • Name: UNT Theses and Dissertations
    Code: UNTETD

Institution

  • Name: UNT Libraries
    Code: UNT

Rights

  • Rights Access: public
  • Rights License: copyright
  • Rights Holder: Gedosh, David
  • Rights Statement: Copyright is held by the author, unless otherwise noted. All rights reserved.

Resource Type

  • Thesis or Dissertation

Format

  • Text

Identifier

  • 464606417
  • Call Number: M585.G44 A8 2009
  • UNT Catalog No.: b3801278
  • Archival Resource Key: ark:/67531/metadc9851

Degree

  • Degree Name: Doctor of Musical Arts
  • Degree Level: Doctoral
  • Degree Discipline: Composition
  • Academic Department: College of Music
  • Degree Grantor: University of North Texas

Note