Browsing by Subject "Hybridity"
Results Per Page
Sort Options
Item Open Access Coloring the Sacred: Visions of Devotional Kinship in Colonial Peru and Brazil(2019) Garriott, Caroline AMy dissertation, “Coloring the Sacred: Visions of Devotional Kinship in Colonial Peru and Brazil,” spans disciplinary, linguistic, and imperial bounds to explore how local devotion to saints expressed through visual media informed broader debates on the enslavement and the spiritual conquest of “New” world populations in colonial Brazil and Peru. Specifically, I explore a range of social actors—African slaves, indigenous muleteers, Portuguese merchants, and Spanish clergymen—who contributed to the multi-directional process of “coloring the sacred” by producing, consuming, and circulating images of saints. Juxtaposing an iconographic analysis of sacred image-objects (paintings, prints, sculptures, crucifixes, and oratories) alongside textual sources, I historicize how lay devotion to saints and their images could simultaneously bridge and mark ethnic divides, thus contributing to rich theoretical debates on hybridity, religion, and the construction of race in the Iberian Atlantic world.
Item Open Access Composers on the Decks(2013) Kotch, Alex HComposers on the Decks is comprised of three related chapters: an original composition for amplified chamber ensemble and laptop DJ, Alleys Of Your Mind; an extended article entitled "Composers on the Decks: Hybridity of Place and Practice among Composer-DJs Gabriel Prokofiev, Mason Bates, Ari Benjamin Meyers and Brandt Brauer Frick"; and an archive of edited interviews of the four primary research subjects. Chapter 1 is the author's artistic contribution. Chapters 2 and 3 explore the emerging practices of "club classical" and what I am calling "instrumental-electronic dance music" in what may be the first academic study to examine the latter and its connections with the former.
Alleys of Your Mind is a work for seven wind instruments, soprano and laptop DJ composed as social dance music, intended to be performed in a nightclub. Its repetitive style, electronic dance beats and long-form instrumental writing create a musical hybrid of classical compositional techniques and electronic dance music (EDM). The work contains three movements: the first and longest movement is paced at a dance tempo of 124 beats-per-minute; the second movement at half of that speed, 62 beats-per-minute; and Movement 3 returns to the original tempo. The movements are performed without pause and leave generous space for the DJ to improvise with audio effects and an extended interlude in Movement 2. In addition, Alleys Of Your Mind has a documentary dimension: audio samples of medical machinery and voices, recorded by the composer during his recovery in a neuroscience intensive care unit, feature in the second and third movements.
Chapter 2 introduces the related practices of "club classical" and "instrumental-EDM," explaining the musical connections between contemporary classical and EDM and interpreting the hybrid social environments where this music lives. The first section deals with the club classical phenomenon in the practices of composer-DJs Gabriel Prokofiev and Mason Bates, and presenters such as Yellow Lounge. Prokofiev leads Nonclassical Records and hosts monthly club nights in London, during which live sets of recent classical works alternate with sets from Nonclassical's resident DJs. The label's releases adapt classical music to an EDM format, featuring new classical compositions and electronic remixes of these works. Bates presents Mercury Soul, a party in nightclubs that links DJ sets of EDM with live classical sets via composed, electro-acoustic interludes; these nights involve a director, conductor, and a chamber ensemble from a major symphony. Yellow Lounge situates older classical music in nightclubs and employs DJs who spin classical works between live sets. Ari Benjamin Meyers composes instrumental-EDM, music that features classically influenced composition with a dance focus, and has performed it with his Redux Orchestra in Berlin's late night dance clubs from 2005-2012. Brandt Brauer Frick, an EDM trio, formed an 11-piece ensemble of mostly classical instruments that plays their orchestrated techno-like tracks in clubs and concert halls.
Using social and performance analysis, the chapter describes these phenomena as musical and social hybridity. Club classical and instrumental-EDM evince a desire on the part of event planners and classically trained composers to connect on a more physical and social level with their audience. Many of the composers and presenters express a wish that through these practices, classical music can expand beyond the concert hall and potentially see a demographic change in its audience over time. The chapter also delves into the narrow demographics of the classical-EDM scene, the difficulties of instrumental-EDM, and situates the author's dissertation composition, Alleys Of Your Mind, and its presentation at the Duke Coffeehouse, within the greater practice of instrumental-EDM.
Chapter 3 presents edited versions of the author's interviews with the study's four primary research subjects. This documentation, and the dissertation as a whole, is paired with a website, composersonthedecks.org, which provides additional information, photographs, links, and audio and video of Alleys Of Your Mind.
Item Open Access O du mein Österreich: Patriotic Music and Multinational Identity in the Austro-Hungarian Empire(2009) Heilman, Jason StephenAs a multinational state with a population that spoke eleven different languages, the Austro-Hungarian Empire was considered an anachronism during the age of heightened nationalism leading up to the First World War. This situation has made the search for a single Austro-Hungarian identity so difficult that many historians have declared it impossible. Yet the Dual Monarchy possessed one potentially unifying cultural aspect that has long been critically neglected: the extensive repertoire of marches and patriotic music performed by the military bands of the Imperial and Royal Austro-Hungarian Army. This Militärmusik actively blended idioms representing the various nationalist musics from around the empire in an attempt to reflect and even celebrate its multinational makeup. Much in the same way that the Army took in recruits from all over the empire, its diverse Militärkapellmeister - many of whom were nationalists themselves - absorbed the local music of their garrison towns and incorporated it into their patriotic compositions. Though it flew in the face of the rampant ethnonationalism of the time, this Austro-Hungarian Militärmusik was an enormous popular success; Eduard Hanslick and Gustav Mahler were drawn to it, Joseph Roth and Stephan Zweig lionized it, and in 1914, hundreds of thousands of young men from every nation of the empire marched headlong to their ultimate deaths on the Eastern Front with the music of an Austro-Hungarian march in their ears. This dissertation explores how military instrumental music reflected a special kind of multinational Austro-Hungarian state identity between 1867 and 1914. In the first part of my dissertation, I examine the complex political backdrop of the era and discuss the role and demographic makeup of the k.u.k. Armee. I then go on to profile the military musicians themselves, describe the idiomatic instrumentation of the military ensembles, and analyze significant surviving works from this repertoire by Julius Fucik and Carl Michel Ziehrer. The results of this study show how Austro-Hungarian Militärmusik synthesized conceptions of nationalism and cosmopolitanism to create a unique musical identity that, to paraphrase Kaiser Franz Joseph, brought together the best elements of each nation for the benefit of all.