Marina Liontou-Mochament's doctoral research investigates how metric improvisation practice can enhance inspiration in improvisation and creation of composed works. By employing a variety of... Show moreMarina Liontou-Mochament's doctoral research investigates how metric improvisation practice can enhance inspiration in improvisation and creation of composed works. By employing a variety of methodological tools (intensive listening to recordings and videos of live and studio performances, music transcription and analysis, ethnographic research (interviews), participatory observation, improvising and composing), and by focusing on the work of carefully chosen figures (Marko Melkon, Udi Hrant, John Berberian, Ara Dinkjian, Tamer Pınarbaşı and Kyriakos Tapakis), this research proposes ways of enriching melodic and rhythmic vocabulary, and substantially developing skills in structuring metric improvisations and composed works. Show less
Starting from Husserl’s somewhat controversial claim about the immortality of the constituting subjectivity, this thesis uses the limit-case of death in order to present a phenomenological... Show moreStarting from Husserl’s somewhat controversial claim about the immortality of the constituting subjectivity, this thesis uses the limit-case of death in order to present a phenomenological exploration of the notion of subjectivity and its relationship to nature. It also offers a second-order discussion about the method and nature of phenomenology in the face of naturalism. The main conclusion of the research is that, in order to make sense of death while abiding by Husserlian methodological rules, it is necessary to reconsider the notion of subjectivity Show less
The PhD project Territoriality and Choreography in Site-Situated Performance is conducted through artistic practice and theoretical inquiry. The project performatively activates a series of... Show moreThe PhD project Territoriality and Choreography in Site-Situated Performance is conducted through artistic practice and theoretical inquiry. The project performatively activates a series of residential sites in Canada and the Netherlands. Site-situated performance refers to an artistic process that begins and ends on-site, working within the specific conditions of a location. The key terms territoriality and choreography here represent concepts and practices that express and navigate space-time(s). The project animates qualities of territoriality through a choreographed encounter between host-dancer, guest-audience and site-performance. Written and explored from the perspective of a Canadian settler scholar and artist, the project attunes to the material and discursive agency of the guest, host and site within colonial and settler colonial conditions. The project develops a critical and creative mode of engagement with the social, material and political characteristics of a site and with the world-building potential of performance. Show less
This dissertation commences from the concept of poiesis, informed chiefly by Hannah Arendt’s use of the term in The Human Condition (1958) to indicate a form of creativity married to craftsmanship.... Show moreThis dissertation commences from the concept of poiesis, informed chiefly by Hannah Arendt’s use of the term in The Human Condition (1958) to indicate a form of creativity married to craftsmanship. This poietic framework will then be used throughout the dissertation to inform a practice-based analysis of the learning process involved with physically polyphonic notations (herein defined as notations of dissynchronous physical actions within a single performative body). Despite polyphonic asynchrony, the unifying performative demands of these pieces are the learning strategies necessary to accomplish this eventual reassembly of instrumental practice within a single, performing body. The following essays will explore the physically polyphonic repertoire of the trombone specifically as a laboratory for problematizing this poietic approach to the learning process. Show less
A mere day after his first footfall in the Americas, Columbus notes the broad foreheads of its inhabitants. These cranial shapes are deliberately created by applying pressure to the infant’s head... Show moreA mere day after his first footfall in the Americas, Columbus notes the broad foreheads of its inhabitants. These cranial shapes are deliberately created by applying pressure to the infant’s head after birth. Facing Society studies indigenous identities through head shaping practices against the backdrop of broader social developments in Caribbean communities before and after 1492 through a multi-disciplinary approach combining archaeology, (ethno)history, anthropology, and sociology. The first evidence of intentional cranial modification comes from the Early Ceramic Age, however by the Late Ceramic Age it was found across the Caribbean. Different regional patterns emerge in conjunction with diverging social developments. For example, the relatively homogeneous pattern of cranial modification seen in the Greater Antilles indicates a collective identity fostering social cohesion in expanding communities and connecting distant villages within the interaction sphere. The Early Colonial Period was transformative for indigenous communities and identities, and consequently caused a decline in head shaping practices. An unexpected revival was seen among the Black Carib, a community of free African descendants on St. Vincent. Traces of head shaping practices can still be found to this day demonstrating the lasting importance of indigenous social practices in the cultural mosaic of the current Caribbean. Show less
Performances of solo keyboard repertoire can sound more or less polyphonic depending on the performer’s use of divergence in expression. Rather than being a purely cerebral experience, this... Show morePerformances of solo keyboard repertoire can sound more or less polyphonic depending on the performer’s use of divergence in expression. Rather than being a purely cerebral experience, this expressive divergence is situated in an ecological relationship between keyboard and player where the gestural dynamics of technique and musicianship overlap. Specific body schemata relating to expressive divergence are therefore foundational to the interpretive freedom of the performer in creating polyphonic expression, and feature transparently in the musical result. This dissertation theorises expressive divergence by examining the embodiment of single voices through the hierarchical structuring of coarticulation, and by showing how these multi-layered gestures combine in the polyphony of expression. This performative view of polyphony is contextualised not only in musical practice, but also in the wider interdisciplinary use of polyphony as a metaphor. Single-player polyphonic expression is shown to enact or demonstrate an inner experience of the plurality of subjective agency, an experience made possible by its embodied dimension. Besides verbalising and theorising polyphonic expression, this dissertation provides experiments and exercises useful for developing such a practice, as well as examples of its application in concert Show less
