Relevant bibliographies by topics / Schafer, R. Murray, 1933-

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Academic literature on the topic 'Schafer, R. Murray, 1933-'

Author: Grafiati
Published: 4 June 2021
Last updated: 11 February 2022

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Journal articles on the topic "Schafer, R. Murray, 1933-"

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Botella Nicolás, Ana María. "El paisaje sonoro como Arte Sonoro." Cuadernos de Música, Artes Visuales y Artes Escénicas 15, no. 1 (2019): 112–25. http://dx.doi.org/10.11144/javeriana.mavae15-1.epsc.

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El concepto de paisaje sonoro o soundscape acuñado por primera vez por el canadiense R. Murray Schafer en 1933 se basa en la defensa del valor del silencio y del sonido por sí mismo como fuente de creatividad. El objetivo principal del artículo es reflexionar sobre el concepto de paisaje sonoro como arte sonoro y reseñar las sinergias entre naturaleza y paisaje a través de la concepción de estos en la historia. Se plantea la paradoja del ruido como música y la incógnita del orden primigenio del sonido. Se incide en el valor emocional del paisaje sonoro y su utilidad como herramienta didáctica.
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Paynter, J. "Personalities in World Music Education No. 13- R. Murray Schafer." International Journal of Music Education 18, no. 1 (1991): 40–44. http://dx.doi.org/10.1177/025576149101800105.

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Goldman, Jonathan. "Bibliographie sélective des articles et des ouvrages musicologiques sur R. Murray Schafer." Circuit: Musiques contemporaines 11, no. 2 (2000): 77. http://dx.doi.org/10.7202/004672ar.

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Sweeney, Elizabeth. "Walking with Janet Cardiff, Sitting with Massimo Guerrera, and Eating Apples with R. Murray Schafer." Journal of Museum Education 34, no. 3 (2009): 235–48. http://dx.doi.org/10.1080/10598650.2009.11510640.

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Kohut, Tom. "Noise Pollution and the Eco-Politics of Sound: Toxicity, Nature and Culture in the Contemporary Soundscape." Leonardo Music Journal 25 (December 2015): 5–8. http://dx.doi.org/10.1162/lmj_a_00924.

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Sound is a political question of which the antagonisms of noise pollution are a concrete embodiment. The discourses of noise pollution tend to postulate noise as a toxin that is produced by our industrial societies and is difficult either to contain or even define precisely. Composer R. Murray Schafer contrasts this toxin with a sustaining nature, but ecological thought of the past decade suggests that nature is, in fact, unnatural. The field recordings of Chris Watson and Francisco López suggest that this natural perversity can indicate a new mode of sonic ecological sustainability.
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Elliott, Robin. "Neglected Canadian Orchestral Music." Articles 33, no. 2 (2015): 127–39. http://dx.doi.org/10.7202/1032699ar.

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This article examines neglected orchestral works by six Canadian composers: Rodolphe Mathieu, Colin McPhee, John Weinzweig, Harry Somers, Istvan Anhalt, and R. Murray Schafer. Despite the considerable professional accomplishments and career achievements of these composers, each has at least one orchestral work in his catalogue that failed to make a good impression with the musical public or has never been heard in live performance. The article attempts to find why these compositions did not win a place in the repertoire and also considers how these works illustrate broader issues relating to t
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Flett, Graham. "My Life on Earth & Elsewhere by R. Murray Schafer. The Porcupine's Quill, 2013. €4.99 (CAD)." Tempo 68, no. 269 (2014): 92–94. http://dx.doi.org/10.1017/s0040298214000230.

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Flusser, Victor. "An ethical approach to music education." British Journal of Music Education 17, no. 1 (2000): 43–50. http://dx.doi.org/10.1017/s0265051700000139.

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Reflecting upon the relationship between people and music, the author is led to adopt a new position on musical education. His ideas are based on the work of the philosopher Hannah Arendt, the pedagogue and paediatrician, Janusz Korczak, and the composer R. Murray Schafer – all of whom focus upon the ‘dialogue’ of education. From Korczak is borrowed the idea of the child as ‘a present-state being’ rather than a ‘future-state being’; from Arendt the concepts of labour, work and action; and from Schafer his ‘Wolf Project’ for a musical community. On the basis of these three influences, the autho
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Truax, Barry. "Sound, Listening and Place: The aesthetic dilemma." Organised Sound 17, no. 3 (2012): 193–201. http://dx.doi.org/10.1017/s1355771811000380.

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A purely aesthetic approach may be problematic when artists wish to deal with the external world as part of their work. The work of R. Murray Schafer in formulating soundscape studies is described, as well as the author's extension of that work within a communicational framework. Soundscape composition is situated within a continuum of possibilities, each with its own practice of mapping or representing the world. Current technological possibilities as well as ethical issues involved in the production process are discussed, along with the author's work in creating a multi-channel imaginary sou
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Schrimshaw, Will. "The Tone of Prime Unity." Organised Sound 23, no. 2 (2018): 208–17. http://dx.doi.org/10.1017/s1355771818000080.

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In The Soundscape, R. Murray Schafer describes a tone of ‘prime unity’, a tonal centre conditioning an international sonic unconscious. Diverging from the bucolic image of nature readily associated with Schafer’s ethics and aesthetics, this tone is found in the ubiquitous hum of electrical infrastructure and appliances. A utopian potential is ascribed to this tone in Schafer’s writing whereby it constitutes the conditions for a unified international acoustic community of listening subjects.This article outlines Schafer’s anomalous concept of the tone of prime unity and interrogates the contrad
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Dissertations / Theses on the topic "Schafer, R. Murray, 1933-"

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Abreu, Thiago Xavier de [UNESP]. "EPHTAH!: das ideias pedagógicas de Murray Schafer." Universidade Estadual Paulista (UNESP), 2014. http://hdl.handle.net/11449/110656.

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Made available in DSpace on 2014-11-10T11:09:56Z (GMT). No. of bitstreams: 0 Previous issue date: 2014Bitstream added on 2014-11-10T11:57:36Z : No. of bitstreams: 1 000795833.pdf: 1501359 bytes, checksum: 3884749ac712f967a563903dd826e742 (MD5)<br>O presente trabalho tem por objetivo discutir as ideias pedagógicas de Murray Schafer. Consideramos “ideias pedagógicas” a filosofia educacional que orienta e que é substância da atividade prática de ensino. Por meio de revisão bibliográfica de obras de Schafer, de periódicos especializados e de literatura relacionada a estas obras, formatamos três
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Medeiros, Maria de Lourdes Lima de Souza. "Educação sonora e ensino musical : uma proposta de repertorio para crianças." [s.n.], 1997. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284143.

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Orientadores: Maria Lucia Senna Pascoal, Celia Maria de Castro Almeida<br>Dissertação (mestrado) - Universidade Estadual de Campinas. Instituto de Artes<br>Made available in DSpace on 2018-07-22T15:54:07Z (GMT). No. of bitstreams: 1 Medeiros_MariadeLourdesLimadeSouza_M.pdf: 7343836 bytes, checksum: 7559e34a3a17ae53b9bd11ae0c7a01cb (MD5) Previous issue date: 1997<br>Resumo: Neste trabalho, foi realizado um estudo paralelo do método de educação musical de Edgar Willems e das propostas de educação sonora e musical apresentadas por Murray Schafer. Foi feita também uma análise sobre as diferenças
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Murph, Megan Elizabeth. "MAX NEUHAUS, R. MURRAY SCHAFER, AND THE CHALLENGES OF NOISE." UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/118.

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In this dissertation, I analyzed Max Neuhaus’s (1939-2009) and R. Murray Schafer’s (b. 1932) commentary and work regarding noise, its control, and its relationship with the environment from the 1960 to the 1980s. Both Neuhaus and Schafer as well as those more directly involved with noise abatement research and policy were responding to the challenges and possibilities that noise posed in the latter twentieth century. In this project, I delved into these substantial links and argued that responding to and engaging with noise abatement policies was a key impetus to much of their work, which scho
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SCOTT, L. BRETT. "WHEN WORDS SING: THE CHORAL MUSIC OF R. MURRAY SCHAFER." University of Cincinnati / OhioLINK, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1021408652.

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Waterman, Ellen Frances Schafer R. Murray. "R. Murray Schafer's environmental music theatre : a documentation and analysis of Patria the epilogue: And wolf shall inherit the moon /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1997. http://wwwlib.umi.com/cr/ucsd/fullcit?p9732703.

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Thesis (Ph. D.--Music--University of California, San Diego, 1997.<br>Vita. "The complete script of And wolf shall inherit the moon and a comprehensive collection of chants written by Wolf Project members are included as appendices."--P. xiv. Includes ninth draft of And wolf shall inherit the moon (leaves 403-446). Includes bibliographical references (leaves 498-501). Includes selected bibliography and works list for R. Murray Schafer (leaves 502-512).
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Darò, Carlotta. "La dimension sonore en architecture : l'expérience du "paysage sonore" (1969-1982)." Paris 1, 2007. http://www.theses.fr/2007PA010533.

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Structuré en trois parties - « vers une dimension sonore en architecture », « ambiance sonore» et « "paysage sonore": la construction d'un nouveau concept (1969-1982) »- cette thèse essaie de mettre en perspective historique l'expérience d'un courant pluridisciplinaire visant à la prise en compte du potentiel sonore dans la création architecturale : le « paysage sonore ». Pour comprendre la naissance de ce courant, diverses expériences réalisées dans le domaine architectural, musical et artistique sont retracées. Il est montré que si dans la pratique architecturale la plus courante, le son est
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Brimson, Cooper Jennifer. "The Weinzweig School: The flute works of Harry Freedman, Harry Somers, R. Murray Schafer, Srul Irving Glick and Robert Aitken." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1342103922.

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Paz, Martha Costa Guterres. "A paisagem sonora em Avalovara, de Osman Lins." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2015. http://hdl.handle.net/10183/148564.

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Uma incursão pelo romance Avalovara, de Osman Lins, abre possibilidades para a descoberta de um universo acústico repleto de simbolismos, permeando as cenas da narrativa. O presente trabalho fundamenta-se nas pesquisas do compositor e educador canadense Raymond Murray Schafer sobre a paisagem sonora mundial. Propõe-se a investigar a relação entre a obra literária Avalovara e a linguagem sonora a partir das expressões acústicas do romance, identificando os possíveis significados de tais conexões. Fez-se necessária a transposição para o mundo ficcional de Avalovara da metodologia de análise e cl
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Gerard, Garrison. "EverWind: Original Composition and Analytical Essay on the Role of Inspiration and Nature in Music." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538726/.

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This paper provides an overview of the inspiration, research, and creative process involved in the composition of EverWind for orchestra and electronics. EverWind is based on field recordings from the American Southwest. The composition uses pitch material derived from spectral analysis of the recordings, and it incorporates a fixed media element using the field recordings that are then electronically manipulated to various degrees; this fixed media element is played alongside the orchestra. The paper also analyzes John Luther Adams' Dark Waves for Orchestra and Electronics and R. Murray Schaf
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Haag, Stefan. "Allegories of the postmodern: the work of Wilfred Watson and R. Murray Schafer." Thesis, 1995. http://hdl.handle.net/2429/7368.

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The characteristic doubling of postmodern works of art is best seen in terms of an allegorical gesture that melancholics undertake in order to create life in an entity they consider dead and meaningless. Walter Benjamin has theorized the allegorical gesture and provides a basis for extending his understanding of modern allegory to the postmodern. The postmodern can be seen as a continuum that at its two extremes veers towards a deconstructive and a reconstructive impulse, respectively. While the former decentres meaning and authority, the latter reconstructs the two on the basis of an ar
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Books on the topic "Schafer, R. Murray, 1933-"

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R Murray Schafer: A Life in Muscb. Rowman & Littlefield Publishers, Incorporated, 2015.

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Book chapters on the topic "Schafer, R. Murray, 1933-"

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"R. Murray Schafer THE SOUNDSCAPE." In The Sound Studies Reader. Routledge, 2012. http://dx.doi.org/10.4324/9780203723647-16.

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Ohi, Kevin. "Exordium." In Inceptions. Fordham University Press, 2021. http://dx.doi.org/10.5422/fordham/9780823294626.003.0001.

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Departing from Giorgio Agamben’s “The End of the Poem,” the introduction distinguishes “inception” from a series of related but not synonymous terms: origin, birth, and beginning. Recalling what R. Murray Schafer calls “onset distortion” in music, inception marks the text’s (and the life’s) vexed relation to its outside; inception, for this book, marks an asynchronicity within beginnings, textual and existential, where foundation diverges from mere starting out. The literary work, because it can neither comprise its inception nor externalize it in an authorizing exteriority, must in some sense posit itself. This fundamental, non-trivial self-reflexivity the book links to potentiality and to a striving for literary language to communicate itself, beyond any particular content of communication. In brief discussions of texts by Agamben, Arendt, Augustine, Benveniste, Frank Kermode, Roland Barthes, J Hillis Miller, Nabokov, and others, the introduction attempts to spell out its understanding of the relation of potentiality to inception and to trace some of its consequences for understandings of the relation between art and life. In so doing, it also distinguishes the book’s project from other possible approaches (empirical, practical, narratological) to the question of beginning.
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"Pefanis, Julian 88 Smith, Graham 10 Pétillon, Pierre-Yves 32, 34, 36 Starobinski, Jean 80 Picard, Raymond 23 Steiner, George 78 Piemme, Jean-Marie 45 Stock, Brian 34 Poe, Edgar Alan 9, 27 Stourdzé, Yves 45–6 Pompidou, Georges 47 Pontaut, Alain 5 Poole, Roger 40–1 Takemura, Kenichi 1, 16 Pound, Ezra 56 Tassart, Maurice 105 Texier, Jean 38 Theall, Donald 12, 68, 81, 107–8 Reagan, Ronald 79, 116 Thenot, Jean-Paul 74 Resnais, Alain 87 Thibau, Jacques 46 Rickels, Lawrence 53 Todorov, Tzvetan 50 Riesman, Paul 18–19, 22 Torgovnic, M. 106, 108 Rigby, Brian 6, 17, 33, 60 Trudeau, Pierre 5, 46–7, 91, Robbe-Grillet, Alain 87 103–4 Robert, Gilles 118 Rokeby, David 10 Rosenthal, Raymond 2 Vermillac, Michel 25, 27 Vernay, Alain 50 Virilio, Paul 4, 16, 89, 95–7 Said, Edward 22 Sarick, Lila 14 Sarrazin, Jean 105 Watson, Wilfred 119–20 Sartre, Jean-Paul 26 Weinstein, M. A. 12 de Saussure, Ferdinand 80, 90 Weiss, Peter 83 Schaeffer, Pierre 56–8, 60 Williams, Raymond 34 Schafer, R. Murray 83 Wolf, Gary 13 Schwartz, Eugene 15 Wolfe, Tom 104 Sevette, Christian 11 Wolton, Dominique 47 Smart, Barry 94 Zingrone, Frank 9 ŽiŽek, Slavoj 59, 62." In McLuhan and Baudrillard. Routledge, 2002. http://dx.doi.org/10.4324/9780203005217-16.

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