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Perceptual Memories, Physicality and Collaboration As Sources of Musical Material in My Pieces Situación #3, Situación #2, and Between Transparency and the Invisible

Description
This dissertation is an account of the strategies that I employed in the compositionof three of my recent pieces: Situación #3, for flute (bass flute), clarinet (bass clarinet), piano, percussion, violin, cello, and electronics; Situación #2, for amplified acoustic guitar and two performers; and Between transparency and the invisible, for…

This dissertation is an account of the strategies that I employed in the compositionof three of my recent pieces: Situación #3, for flute (bass flute), clarinet (bass clarinet), piano, percussion, violin, cello, and electronics; Situación #2, for amplified acoustic guitar and two performers; and Between transparency and the invisible, for orchestra and electronics. The first chapter, devoted to Situación #3 discusses the re-interpretation of memories and visual records with musical means. The second chapter focuses on Situación #2 and the issues of physicality and collaboration that originated the piece. The third chapter addresses Between transparency and the invisible and how it was informed by my experience contemplating visual art.
ContributorsZárate Flores, Carlos Angel (Author) / Navarro, Fernanda A (Thesis advisor) / Bolaños, Gabriel J (Committee member) / Paine, Garth (Committee member) / Arizona State University (Publisher)
Created2023
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Plant Intelligence and Communication: Distributed, Non-hierarchical Systems as Models For Music Composition and Networked Sound Installations

Description
Increased awareness and technological solutions will not solve the global ecological crises of climate change and mass extinction by themselves. A fundamental shift is needed in how we view ourselves and our relationships with all life to avoid further degradation of the biosphere and ensure a more equitable future. A…

Increased awareness and technological solutions will not solve the global ecological crises of climate change and mass extinction by themselves. A fundamental shift is needed in how we view ourselves and our relationships with all life to avoid further degradation of the biosphere and ensure a more equitable future. A crucial part of such a shift means expanding the range of species that fall under human consideration. Viewing non-human life, including plants, as intrinsically rather than instrumentally valuable can be transformative to how we, as a species, think about and enact practices that encourage sustainable development. By highlighting the intelligence and communication abilities of plant life through artistic work, a strong counter-narrative can be developed against the dominant utilitarian view of plants as merely a resource for human cultivation and consumption. This dissertation explores plant intelligence and communication as models for music composition and networked sound installations. It is comprised of two complementary components, a sound installation, Unheard Voices, and the following document that explores the relevant artistic precedents, ecological, philosophical, and practice-based research that was conducted to facilitate the creation of the installation project. Focusing this research are the questions: 1) How can plant intelligence in communication, as outlined by plant neurobiologists and ecologists, serve as a model for creating sound installations? 2) How can such art pieces help viewers reflect on humanity’s interconnection to nature and reconsider plants as sentient, communicative, and intrinsically rather than instrumentally valuable?
ContributorsArne, Devin (Author) / Paine, Garth (Thesis advisor) / Feisst, Sabine (Committee member) / Broglio, Ronald (Committee member) / Arizona State University (Publisher)
Created2021
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The Rhizosphere: Subterranean Listening

Description
For about a decade, I have thought of composing as a form of sonic gardening. The processes are very similar in that I cultivate ecosystems of interrelated parts, whether in sound or in the soil. My interests in creating sonic ecosystems and in learning more about environmental issues motivated me…

For about a decade, I have thought of composing as a form of sonic gardening. The processes are very similar in that I cultivate ecosystems of interrelated parts, whether in sound or in the soil. My interests in creating sonic ecosystems and in learning more about environmental issues motivated me to research soil health and the rhizosphere, the microbiome around a plant's root system. For my dissertation project I have composed a piece titled The Rhizosphere inspired by the processes and behaviors found in the rhizosphere for percussion sextet of about 8 minutes in duration. This piece was commissioned by the Arizona Contemporary Music Ensemble, with a performance date of April 21, 2022. In this document, I discuss issues relating to soil and sustainability, provide a survey of relevant sound art, and describe processes and features of the rhizosphere. I share how I mapped different aspects of the rhizosphere to various sonic parameters and processes in my composition. I then consider The Rhizosphere as it relates to other pieces in my portfolio, specifically works inspired by nature or environmental issues. During my doctoral studies I have been inspired by and sought to depict plants (Dandelion) and desert (Desertification and Desert Rain God), among others.
ContributorsBrackney, Laura (Author) / Navarro, Fernanda (Thesis advisor) / Rockmaker, Jody (Committee member) / Bolanos, Gabriel (Committee member) / Paine, Garth (Committee member) / Arizona State University (Publisher)
Created2022