Ontological Substance and Meaning in Live Electroacoustic Music

  • Jeffrey M. Morris
Part of the Lecture Notes in Computer Science book series (LNCS, volume 5493)

Abstract

Philosopher Stephen Davies has used the terms “ontologically thin” and “ontologically thick” to describe compositions with varying amounts of flexibility under interpretation. Placing these two poles on a continuum of ontological substance, I extend Davies’s ideas to shed light on issues concerning meaning in live electroacoustic music. I demonstrate that algorithmic and interactive elements lend an extra dimension to the existence of the musical work and that the apparent obsolescence of live performance caused by new technology is really an opportunity to develop meaning in a new parameter of musical structure.

Preview

Unable to display preview. Download preview PDF.

Unable to display preview. Download preview PDF.

References

  1. Auslander, P.: Liveness: Performance in a Mediatized Culture. Routledge, New York (1999)Google Scholar
  2. Baudrillard, J.: Simulacra and Simulation. Glaser, Sheila Faria (trans.). University of Michigan Press, Ann Arbor (1981)Google Scholar
  3. Benjamin, W.: The Work of Art in the Age of Mechanical Reproduction [1936]. In: Arendt, H. (ed.) Illuminations: Essays and Reflections. Schocken, New York (1969)Google Scholar
  4. Borges, J.L.: New Refutation of Time. In: Other Inquisitions: 1937–1952. Simms, Ruth (trans.). University of Texas Press (1975)Google Scholar
  5. Brown, E., Shirmer, G.: Folio and 4 Systems (December 1952)Google Scholar
  6. Cage, J.: 4’33”: for Any Instrument or Combination of Instruments. Edition Peters, New York (1960)Google Scholar
  7. Davies, S.: Musical Works and Performances: A Philosophical Exploration. Oxford University Press, Oxford (2001)CrossRefGoogle Scholar
  8. Davies, S.: Versions of Musical Works and Literary Translations. In: Stock, K. (ed.) Philosophers on Music: Experience, Meaning and Work. Oxford University Press, Oxford (2007)Google Scholar
  9. d’Escriván, J.: To Sing the Body Electric: Instruments and Effort in the Performance of Electronic Music. Contemporary Music Review 25(1-2) (2006)Google Scholar
  10. Eco, U.: The Open Work. Harvard University Press, Cambridge (1989)MATHGoogle Scholar
  11. Einstein, A.: Zur Elektrodynamik bewegter Körper. Annalen der Physik und Chemie 17, 891–921 (1905)CrossRefGoogle Scholar
  12. Lewis, G.: Too Many Notes: Computers, Complexity and Culture in Voyager. Leonardo Music Journal 10 (2000)Google Scholar
  13. Morris, J.M.: Live Sampling in Improvised Musical Performance: Three Approaches and a Discussion of Aesthetics. DMA diss. University of North Texas (2007)Google Scholar
  14. Phelan, P.: Unmarked: The Politics of Performance. Routledge, New York (1993)CrossRefGoogle Scholar
  15. Seaman, W.: Recombinant Poetics: Emerging Meaning as Examined and Explored within a Specific Generative Virtual Environment. Ph.D. thesis. Centre for Advanced Inquiry in the Interactive Arts, University of Wales (1999)Google Scholar
  16. The Winstons: “Amen Brother”. On: Color Him Father (sound recording). Metromedia, New York (1969)Google Scholar

Copyright information

© Springer-Verlag Berlin Heidelberg 2009

Authors and Affiliations

  • Jeffrey M. Morris
    • 1
  1. 1.Texas A&M UniversityUSA

Personalised recommendations