자료유형  

 학위논문

Control Number  

0016934497

International Standard Book Number  

9798380484930

Dewey Decimal Classification Number  

900

Main Entry-Personal Name  

Suechting, Maxwell Joseph.

Publication, Distribution, etc. (Imprint  

[S.l.] : Stanford University., 2023

Publication, Distribution, etc. (Imprint  

Ann Arbor : ProQuest Dissertations & Theses, 2023

Physical Description  

1 online resource(170 p.)

General Note  

Source: Dissertations Abstracts International, Volume: 85-04, Section: A.

General Note  

Advisor: Bukatman, Scott;Elam, Michele;Kronengold, Charles.

Dissertation Note  

Thesis (Ph.D.)--Stanford University, 2023.

Restrictions on Access Note  

This item must not be sold to any third party vendors.

Summary, Etc.  

요약Herbie Hancock's 1973 album Sextant begins with the sounds of a machine. "Rain Dance," the album's first track, opens with a syncopated and nearly-atonal chain of synthesized raindrops, quickly accompanied by the honking, repetitive bray of a synthetic alarm. The third sound to enter is a simple human hand-clap, keeping time alongside the first two, joined next by submarine synth bubblings filtered into a spray of granular delay effects. This palette is interrupted by the seemingly-oblivious trumpet of Eddie Henderson (credited on Sextant as Mganga), who delivers a few lines of breathless improvisation, veering between tuneful New Orleans-style licks and patchy, overblown notes. Henderson trails off and the music seizes up; then returns, seemingly unchanged, to its plodding pace, joined slowly by drummer Billy Hart (Jabali)'s fractal shuffle, the hopscotch bass of Buster Williams (Mchezaji), and (briefly) trombonist Julian Priester (Pepo). Finally, Hancock (Mwandishi) himself enters the fray, first taking an extended quasi-solo on his effects rig before switching to the Fender Rhodes and settling, with the others, into a scribbled, pointillistic funk jam, which meanders for a while before again collapsing into itself. As the beat returns once more, Williams takes a short solo, accompanied by an oscillating, heavily-filtered drone, before fading again into silence near the track's midpoint.The track's second half is composed almost entirely of looped and manipulated synthesizers accompanied by the repeated handclap. Seated like a mad scientist behind his control panel, Hancock subjects the listener to a barrage of sonic experiments, toying with machinic rhythms and synthetic timbres, his textures ranging from harsh metallic stabs to sustained, theremin-like humming. "Rain Dance" closes as the looped raindrops with which it opened fade into the background, leaving only a gentle, high-pitched hum (a centrifuge? a vibrating string? a UFO? a car axle?) in its place.From the moment the hand-clap enters, "Rain Dance" stages the messy interactions of humans and machines, muddying the boundaries between instrument and effect, acoustic and electronic, natural and synthetic, individual and ensemble. It's a strange piece, even by the genrebending standards of Hancock's early-1970s work. Its title suggests religion, hinting at a ritualistic animism; combined with the performers' alternate names, it hints at an aesthetic universe combining scientism and Afro-centric mythology. Moreover, where recordings like "Ostinato (Suite for Angela)" (from 1971's Mwandishi) have a clear (if minimal) compositional structure, "Rain Dance" has no real center, no abstractable musical figures to be transcribed. The composition functions not as a self-contained expression but rather as a platform for experimental group improvisation with rhythm, repetition, timbre, and texture.Where does this leave the human subject - the man himself, Herbie Hancock, a warm body presumably surrounded by a roomful of people and gear? Hancock is the nominal leader, but it is difficult to consider him as such when so much of Sextantis composed of improvisation, automation, misdirection. Acoustic instruments are warped and distorted, overwritten until indistinguishable from the burbles and beeps of electronics - and anyway aren't they all just machines, all appendages, trumpets and synthesizers and arpeggiators and cymbals, some with wires and some without but none more or less musical (or human) than a pair of clapping hands?

Subject Added Entry-Topical Term  

Futures.

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History.

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Afrofuturism.

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Dance.

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Popular music.

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Musicians & conductors.

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Fractals.

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Modernity.

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Aesthetics.

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Diaspora.

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Sound.

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African Americans.

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Motion pictures.

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Novels.

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Musical performances.

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Science fiction & fantasy.

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Art.

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Subjectivity.

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Consciousness.

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Improvisation.

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Digital technology.

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Black studies.

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Popular culture.

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African American studies.

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Cultural anthropology.

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Film studies.

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Fine arts.

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Literature.

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Music.

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Performing arts.

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Sociology.

Added Entry-Corporate Name  

Stanford University.

Host Item Entry  

Dissertations Abstracts International. 85-04A.

Host Item Entry  

Dissertation Abstract International

Electronic Location and Access  

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Control Number  

joongbu:642167