Sections
Table of Contents
Declaration
Abstract
List of Tables
List of Figures
Acknowledgements
New Instruments
Glossary of Common Terms and Concepts
Preface
Conceptual Map
Overview — physics, phenomenology, and music
Visual representation of research propositions
Aims and objectives
Research questions, research areas, and research propositions
Summary of findings
Structure of dissertation
Relationship between theoretical and creative work
Inquiry process
Scope
Summary of significance of research and applications
Research questions, research areas, and research propositions
Summary of findings
Structure of dissertation
Relationship between theoretical and creative work
Inquiry process
Scope
Summary of significance of research and applications
Chapter 1: Introduction
Approach to the Research Questions
Section A: Linearity and Cyclicity in Compositional Form and Process
Section A: Linearity and Cyclicity in Compositional Form and Process
Linearity and cyclicity in the dissertation’s exposition of concepts
Linearity and cyclicity in standard academic and narrative curve form
Linearity and cyclicity in musical development processes
Linearity and cyclicity of time as alternative phenomenological mechanics
Linearity and cyclicity in musical time and motion
Linearity and cyclicity as concurrent themes of theory and artefact
Linearity and cyclicity in standard academic and narrative curve form
Linearity and cyclicity in musical development processes
Linearity and cyclicity of time as alternative phenomenological mechanics
Linearity and cyclicity in musical time and motion
Linearity and cyclicity as concurrent themes of theory and artefact
Section B: Thought Experiment
Research Area 1: Music as Phenomenological Mechanics
Research Area 2: Composition as Intercultural Metaphor
Research Area 3: Applications of Theory to Music Performance and Analysis
Research Area 4: Newly Imagined Instruments and Novel Compositional Processes
Research Area 2: Composition as Intercultural Metaphor
Research Area 3: Applications of Theory to Music Performance and Analysis
Research Area 4: Newly Imagined Instruments and Novel Compositional Processes
Section C: Literature Review
Preliminary concepts
Phenomenological mechanics — Western and Eastern
Musical mechanics — Zuckerkandl
Musical phenomenologies — Cage
Musical interculturalities — Clayton
Musical processing — linear and cyclic — Kramer
Musical interdisciplinarities — Fraser
Phenomenological mechanics — Western and Eastern
Musical mechanics — Zuckerkandl
Musical phenomenologies — Cage
Musical interculturalities — Clayton
Musical processing — linear and cyclic — Kramer
Musical interdisciplinarities — Fraser
Conclusion
Chapter 2: Methodology
Thought Experiment
History of thought experiments as a methodology
Thought experiments in philosophy, science, and music
The advantages of thought experiments as a methodology
Types of thought experiments
Thought experiments in philosophy, science, and music
The advantages of thought experiments as a methodology
Types of thought experiments
Interpretative Phenomenological Analysis
Practice-led Research
Smith and Dean’s Iterative Cyclic Web model
Origin of research — Clayton’s analysis of Zuckerkandl’s wave theory
Associated characteristics as proposed by Barrett and Bolt
Origin of research — Clayton’s analysis of Zuckerkandl’s wave theory
Associated characteristics as proposed by Barrett and Bolt
Chapter 3: Discussion
Overview
Theoretical essay versus exegesis perspective
The artefacts as exemplars of theoretical concepts
The major artefact as exegesis — minimalism and intercultural symbiosis perspectives
Minimalism and intercultural symbiosis in the zeitgeist of the twentieth century
Application of concepts to the performance and analysis of music — composition and improvisation
The artefacts as exemplars of theoretical concepts
The major artefact as exegesis — minimalism and intercultural symbiosis perspectives
Minimalism and intercultural symbiosis in the zeitgeist of the twentieth century
Application of concepts to the performance and analysis of music — composition and improvisation
Summary of Findings
Aims and objectives
The Artefacts as Exemplars of the Theoretical Concepts
Exemplars of Fraser’s canonical forms of human temporality
The tertiary research propositions — musical forms as helix and vortex
The tertiary research propositions — musical forms as helix and vortex
The Artefacts as Exemplars of the Dissertation’s Tertiary RPs
The major artefact as an exemplar of RP 3A
The minor artefact as an exemplar of Tertiary RP 3B
The minor artefact as an exemplar of Tertiary RP 3B
Exegesis Perspective — Minimalism and Intercultural Symbiosis
Minimalism
Intercultural symbiotic minimalism — Secondary RP 2C
Intercultural symbiotic minimalism — Secondary RP 2C
Intercultural Perspectives
Altermodernism
Intercultural symbiosis
Intercultural symbiosis
Application of the Research to Music Performance and Analysis
Application to analysis
Application to composition
Application to improvisation
Application to composition
Application to improvisation
Phenomenological Mechanics — An Intercultural Musical Perspective
The phenomenology of physics
The mechanics of music
Phenomenological mechanics — further interdisciplinary applications
The mechanics of music
Phenomenological mechanics — further interdisciplinary applications
Chapter 4: Summary and Conclusion
Reprisal of Sources — Physics, Phenomenology, and Music
Scope and Processes
Major Findings and Applications
Conclusion
Scope and Processes
Major Findings and Applications
Conclusion
Final summarising concept — the known and the unknown
Appendices
Appendix 1: List of Artefacts
Appendix 2: Form and Void — Western and Eastern Perspectives — Dualism and Monism
Appendix 3: Time and Motion — Western and Eastern Perspectives — Train Journey as Allegory
Appendix 4: Particle Stream and Wave Representations of the Experience of MetreError!
Appendix 2: Form and Void — Western and Eastern Perspectives — Dualism and Monism
Appendix 3: Time and Motion — Western and Eastern Perspectives — Train Journey as Allegory
Appendix 4: Particle Stream and Wave Representations of the Experience of MetreError!
Appendix 5: Compositional Methods and Processes — Major and Minor Artefacts
Appendix 6: Background Information and Rationale for Guitar and Tabla.
Appendix 7: Oscillation 1 — Analysis of Phenomenological Vector Field from the Perspective of Primary RP 1A
Appendix 8: Historical Discography — Western and Eastern
Appendix 9: Fingerings for Chords of Lead Sheet for the 8-String Guitar
Appendix 6: Background Information and Rationale for Guitar and Tabla.
Appendix 7: Oscillation 1 — Analysis of Phenomenological Vector Field from the Perspective of Primary RP 1A
Appendix 8: Historical Discography — Western and Eastern
Appendix 9: Fingerings for Chords of Lead Sheet for the 8-String Guitar
Bibliography
