Relevant bibliographies by topics / Postminimalism / Dissertations / Theses
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Dissertations / Theses on the topic 'Postminimalism'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 January 2023

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Consult the top 15 dissertations / theses for your research on the topic 'Postminimalism.'

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1

Williams, Nicholas Allan. "Strategies of postminimalism in my recent music." Thesis, University of Huddersfield, 2009. http://eprints.hud.ac.uk/id/eprint/7515/.

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This commentary will consider how I have developed and applied a number of compositional techniques, particularly in the area of rhythm and pulse, which I situate in relationship to postminimalism. In chapter 1 I contextualise my music by considering some manifestations of postminimalism, give the background to the development of my present aesthetic approach, and look at some definitions of postminimalism in order to clarify my own position in relation to both American and European (primarily Dutch) postminimal composition. In chapter 2 I examine the main aspects of my musical language, focus
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2

Richey, Paul. "Awkward Silence." ScholarWorks@UNO, 2017. http://scholarworks.uno.edu/td/2364.

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My work has a strong formal quality and a deep relation to minimalism without ever buying into it. Through tension and inserting my personal experience into the making of the work, but not always within the meaning of the work, I leave the viewer to draw their own conclusions.
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3

Chai, Joshua John. "POSTMINIMALIST CHORAL MUSIC: A PEDAGOGICAL PERSPECTIVE." UKnowledge, 2019. https://uknowledge.uky.edu/music_etds/135.

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After the strict processes of mid-twentieth-century minimalism, a new musical style has emerged which retains extensive use of repetition, but is generally more aurally accessible, based in non-functional triadic harmony, and flexible in its compositional structure. Frequent use of non-minimalist resources, musical resources from multiple styles in a single composition, and quotation from previous historical periods define this flexibility. American choral music has many popular compositions that exhibit characteristics of this new musical style, in part because of its accessibility relative t
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4

Hanson-Dvoracek, Andrew. "Julius Eastman's 1980 residency at Northwestern University." Thesis, University of Iowa, 2011. https://ir.uiowa.edu/etd/1226.

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Post-minimalist American composer Julius Eastman's residency at Northwestern University in 1980 provides a rare opportunity to mitigate, if not eliminate, the problems involved in defining his compositional style. Eastman occupies a complex and unlikely position in late twentieth-century music as an openly gay, African-American composer of serious art music who both a member of the Creative Associates at SUNY Buffalo as well as participated in the diverse musical culture of Downtown New York. Eastman's surviving scores are notated in a fragmentary and idiosyncratic fashion and the composer's o
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5

Gotham, Nicholas. "Form and freedom : the marriage of musical systems and intuition." Thesis, Brunel University, 2013. http://bura.brunel.ac.uk/handle/2438/7636.

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This thesis includes an Introduction, which explains some of the ideas and procedures involved in a series of compositions I produced during the period from October, 2008 through November, 2011, a discussion of the works themselves individually and in roughly the same chronological order in which they were composed, and a summary of Conclusions which may be drawn. Included as an Appendix are texts for reference while listening to the vocal works. Complete scores of the works with representative recordings make up the main body of the thesis, except in the case of the solo piano suite Equilibri
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6

Govan, Hugh. "Baroque Postminimalism : the problem of style in the work of Robert Smithson, Robert Morris and Gordon Matta-Clark (1965-1980)." Thesis, University of Essex, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.702725.

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In this thesis, I look at the reception of the Baroque in U.S. art of the late 20th Century, with a particular focus on the expanded sculptural situations of Postminimal art in the mid-late Sixties and Seventies. The Baroque is a surprising, though productive, theme in this area, for how it reveals the transformations in attitudes to style in art, art history and art criticism during this time. I first of all look at what is at stake in differentiating between Mannerism and the Baroque in the late 60s, through a close reading of the art historical sources in the work and writing of the artist
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7

Davidson, Robert A. "Folio of compositions with critical commentary." Thesis, University of Queensland, 2001. https://eprints.qut.edu.au/6034/1/6034_v1.pdf.

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Folio of original music compositions and critical commentary. Thesis PhD completed 2001: University of Queensland, School of Music. The thesis is contained within 2 volumes: [v.1] Folio of compositions and critical commentary -- [v.2] Folio of compositions.
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8

Vainio, Sabrina. "PLACE TO FORGIVE." Thesis, Konstfack, Keramik & Glas, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6261.

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A text about the difficulties of letting go of worries and forgiving oneself. This is discussed through the practice of mindfulness and the ritual as an artistic process. Dedicating time and acknowledging the present generates presence, visible in the artistic objects. The method of Collage reflects this through piece by piece building stronger artwork and a stronger self.
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9

Bauer, Cornelius. "Postminimalismus als kompositorischer Ansatz analytische Untersuchungen am Werk John Adams', Michael Torkes und Louis Andriessens bis ca. 1995." Regensburg Roderer, 2005. http://deposit.ddb.de/cgi-bin/dokserv?id=2793678&prov=M&dok_var=1&dok_ext=htm.

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10

Bauer, Cornelius. "Postminimalismus als kompositorischer Ansatz : analytische Untersuchungen am Werk John Adams', Michael Torkes und Louis Andriessens bis ca. 1995." Regensburg Roderer, 2006. http://deposit.ddb.de/cgi-bin/dokserv?id=2793678&prov=M&dokv̲ar=1&doke̲xt=htm.

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11

Austin, Travis R. "Laminated PAINT." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5462.

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Though we may not perceive it, we are surrounded by material-in-flux. Inert materials degrade and the events that comprise our natural and social environments causally thread into a duration that unifies us in our incomprehension. Sounds reveal ever-present vibrations of the landscape: expressions of the flexuous ground on which we stand.
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12

Park, Chang-Seo. "Perméabilité et ambiguïté du processus artistique : langage, production, appréciation." Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010658.

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Cette recherche est à la fois théorique et pratique de la notion de limite. Alors que la limite est considérée d'ordinaire comme le lieu qui sépare et exclut mutuellement deux mondes, les travaux artistiques présentés (installation et performances filmées, photographie) montrent qu'elle autorise, en tant que zone médiatrice, une perméabilité et rend possible une rencontre. Se situant aux confluents des mouvements artistiques des cinquante dernières années (minimalisme, post-minimalisme, Gutai, Mono-ha, art conceptuel, critique institutionnelle, etc.), ces travaux en sont comme une synthèse por
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13

Schneller, Katia. ""Some splashes in the Ebb tide" : constructions et déconstructions des catégories artistiques, New-York, 1966-1973." Paris 1, 2009. http://www.theses.fr/2009PA010652.

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Entre 1966 et 1973, la scène new yorkaise voit apparaître un foisonnement d'étiquettes telles que «Minimal Art », «Conceptual Art », «Earth Art », «Anti Form» ou « Postminimalism » qui, loin de catégoriser clairement les nouvelles pratiques artistiques, s'entremêlent. Carl André, Mel Bochner, Eva Hesse, Robert Morris, Bruce Nauman, Richard Serra, Robert Smithson se trouvent en effet répertoriés sous plusieurs d'entre-elles. L'étude du processus d'élaboration de ces appellations et de la relation que ces artistes y entretiennent, laisse comprendre qu'a alors lieu une redéfinition de la notion d
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14

Fiske, Courtney. "“Requestioning” Postminimalism: Gordon Matta-Clark’s Creative Energetics, 1968–72." Thesis, 2021. https://doi.org/10.7916/d8-pehn-dz33.

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This dissertation is a study of the early career of the American architect-turned-artist Gordon Matta-Clark (1943–1978) that spans the years 1968 to 1972. Immersing himself in SoHo’s vibrant artistic community, of which he was both a catalyst and a nexus, Matta-Clark worked through the essential ideas and concerns that would inform his practice during this condensed but incredibly generative four-year period. The works that resulted are heterogeneous, united less by specific media than by a shared constellation of concepts. Foremost among these concepts is energy: a key trope in the cultural,
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15

Diggins, Luke Andrew. "Dissonance and Resonance: Theory and Theatre in the Art of Donald Judd and Robert Morris." Phd thesis, 2018. http://hdl.handle.net/1885/154277.

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This thesis interrogates the common grouping of Donald Judd and Robert Morris within minimalism to renegotiate difference between their intervening strategies into modernist art and criticism. When minimalism emerged as an avant-gardist threat and discursive challenge to modernist art during the mid-1960s, many contemporary critics missed the conceptual differences at play between Judd and Morris’ practices. Instead dismissive critics emphasised commonage within the rejection of modernist theory and formalism their art and writin
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