{"id":{"repo_id":"uiuc","oai_identifier":"oai:www.ideals.illinois.edu:2142/115339"},"canonical_url":"https://search.dev.ndltd.org/etd/uiuc/oai:www.ideals.illinois.edu:2142/115339","repository":{"repo_id":"uiuc","name":"University of Illinois - Urbana-Champaign","base_url":"https://www.ideals.illinois.edu/oai-pmh"},"display":{"title":"Music as a communicative art: Kurtág, Lachenmann, Pearson","abstract":"Submission original under an indefinite embargo labeled 'Open Access'. The submission was exported from vireo on 2022-11-11 without embargo terms","abstract_html":"Submission original under an indefinite embargo labeled 'Open Access'. The submission was exported from vireo on 2022-11-11 without embargo terms","abstract_has_math":false,"creators":["Pearson, William Ralph"],"institution":"University of Illinois at Urbana-Champaign","degree_name":"A.Mus.D.","degree_level":"Dissertation","degree_discipline":"Music","degree_department":null,"school":null,"contributors":["Taylor, Stephen","Carrillo, Carlos","Tipei, Sever","Gee, Erin"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2022,"date_issued":"2022-05","date_published":"2022-05","updated_at":"2026-07-22T22:24:54Z","subjects":["music composition","communication","ostension","Lachenmann","Kurtág","aesthetics","philosophy of music"],"languages":["en","eng"],"rights":["Copyright 2022 William Pearson"],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"https://hdl.handle.net/2142/115339","outbound_label":"Handle","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Taylor, Stephen","Carrillo, Carlos","Tipei, Sever","Gee, Erin"]},{"key":"dc:creator","label":"Author","values":["Pearson, William Ralph"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2022-05","2022-02-24"]},{"key":"dc:type","label":"Dc Type","values":["text","Thesis"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Music"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Dissertation"]},{"key":"thesis:degree_name","label":"Degree Name","values":["A.Mus.D."]},{"key":"thesis:institution_name","label":"Thesis Institution Name","values":["University of Illinois at Urbana-Champaign"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["music composition","communication","ostension","Lachenmann","Kurtág","aesthetics","philosophy of music"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["en","eng"]},{"key":"dc:rights","label":"Dc Rights","values":["Copyright 2022 William Pearson"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["https://hdl.handle.net/2142/115339"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["Submission original under an indefinite embargo labeled 'Open Access'. The submission was exported from vireo on 2022-11-11 without embargo terms","The student, William Pearson, accepted the attached license on 2022-02-22 at 18:01.","The student, William Pearson, submitted this Dissertation for approval on 2022-02-22 at 18:07.","This Dissertation was approved for publication on 2022-02-24 at 14:06.","DSpace SAF Submission Ingestion Package generated from Vireo submission #17510 on 2022-11-11 at 13:04:26","In this dissertation I introduce and defend the notion of ‘communicative music,’ describing it both as a compositional orientation and applying it as an analytical lens to three works of music: Helmut Lachenmann’s Ein Kinderspiel for solo piano, György Kurtág’s Játékok Vol. I for solo piano, and my own Crazy Weather for chamber orchestra. In this paper I define communication as an interpersonal activity aimed at understanding what is meant and/or being understood in what one means. Communicative music, by my lights, is not simply ‘music that communicates’ or even ‘music that communicates particularly effectively,’ but is instead music that is preoccupied with, focused on, or particularly guided by the elements and challenges of the communicative activity. To begin, I contextualize the musical artform and its communicative potential relative to other artforms, primarily painting, photography, and poetry. I use the scholarship of various critics, historians, theorists, and philosophers to derive a set of artistically wrought communicative characteristics and articulate a nascent vocabulary for describing communicative art: as anti-theatrical, anti-affective, phenomenological, and ostensive. I then present the artform of music as posing particular challenges to the communicatively- minded composer—the multiplicity problem, the language problem, and the passive listener problem—and describe potential strategies composers might therefore employ to deal with such problems: using ostension, eliding together communicative junctures, and employing flexible or ‘pedagogically shaped’ musical structures. I analyze the three works listed above, describing how each work employs these communicative strategies in different ways. Finally, I conclude by considering the potential value of this communicative approach for composers os music who are interested in unifying or harmonizing their compositional process with their pedagogical and ethical lives."]},{"key":"dc:format","label":"Dc Format","values":["application/pdf"]},{"key":"dc:title","label":"Title","values":["Music as a communicative art: Kurtág, Lachenmann, Pearson"]}]}],"canonical_facts":{"dc:contributor":["Taylor, Stephen","Carrillo, Carlos","Tipei, Sever","Gee, Erin"],"dc:creator":["Pearson, William Ralph"],"dc:date":["2022-05","2022-02-24"],"dc:description":["Submission original under an indefinite embargo labeled 'Open Access'. The submission was exported from vireo on 2022-11-11 without embargo terms","The student, William Pearson, accepted the attached license on 2022-02-22 at 18:01.","The student, William Pearson, submitted this Dissertation for approval on 2022-02-22 at 18:07.","This Dissertation was approved for publication on 2022-02-24 at 14:06.","DSpace SAF Submission Ingestion Package generated from Vireo submission #17510 on 2022-11-11 at 13:04:26","In this dissertation I introduce and defend the notion of ‘communicative music,’ describing it both as a compositional orientation and applying it as an analytical lens to three works of music: Helmut Lachenmann’s Ein Kinderspiel for solo piano, György Kurtág’s Játékok Vol. I for solo piano, and my own Crazy Weather for chamber orchestra. In this paper I define communication as an interpersonal activity aimed at understanding what is meant and/or being understood in what one means. Communicative music, by my lights, is not simply ‘music that communicates’ or even ‘music that communicates particularly effectively,’ but is instead music that is preoccupied with, focused on, or particularly guided by the elements and challenges of the communicative activity. To begin, I contextualize the musical artform and its communicative potential relative to other artforms, primarily painting, photography, and poetry. I use the scholarship of various critics, historians, theorists, and philosophers to derive a set of artistically wrought communicative characteristics and articulate a nascent vocabulary for describing communicative art: as anti-theatrical, anti-affective, phenomenological, and ostensive. I then present the artform of music as posing particular challenges to the communicatively- minded composer—the multiplicity problem, the language problem, and the passive listener problem—and describe potential strategies composers might therefore employ to deal with such problems: using ostension, eliding together communicative junctures, and employing flexible or ‘pedagogically shaped’ musical structures. I analyze the three works listed above, describing how each work employs these communicative strategies in different ways. Finally, I conclude by considering the potential value of this communicative approach for composers os music who are interested in unifying or harmonizing their compositional process with their pedagogical and ethical lives."],"dc:format":["application/pdf"],"dc:identifier":["https://hdl.handle.net/2142/115339"],"dc:language":["en","eng"],"dc:rights":["Copyright 2022 William Pearson"],"dc:subject":["music composition","communication","ostension","Lachenmann","Kurtág","aesthetics","philosophy of music"],"dc:title":["Music as a communicative art: Kurtág, Lachenmann, Pearson"],"dc:type":["text","Thesis"],"thesis:degree_discipline":["Music"],"thesis:degree_level":["Dissertation"],"thesis:degree_name":["A.Mus.D."],"thesis:institution_name":["University of Illinois at Urbana-Champaign"]},"updated_at":"2026-07-22T22:24:54Z"}