Performance Paradigm, vol. 4. In the nineteenth century, the reputation of Beethoven’s music persisted long after his death, causing younger composers to feel as if they were competing against the “flood” of Beethoven’s influence. Many composers like Johannes Brahms and Gustav Mahler reconciled themselves in this situation by referring to or adapting materials of Beethoven’s but using them in their own ways. The advent of recording technology extended this effect to every composer that could be recorded, without relying solely on history to recognise Continue reading →

DMA Dissertation. A discussion of issues raised by these works includes aesthetics, ontology, performance, and the role of the composer. Non-interactive indeterminate compositions are ontologically thin, because some composerly agency is required of the performer. An interactive work can be ontologically substantial if it makes distinct and significant contributions to performance, even though it may not make sound on its own. Although reproducibility reduces ontology and eliminates aura, live sampling within a performance can deepen the ontology of the Continue reading →