{"id":{"repo_id":"unt","oai_identifier":"info:ark/67531/metadc2626"},"canonical_url":"https://search.dev.ndltd.org/etd/unt/info:ark/67531/metadc2626","repository":{"repo_id":"unt","name":"University of North Texas","base_url":"https://digital.library.unt.edu/oai/"},"display":{"title":"The Heidegger Collection","abstract":"The dissertation consists of two parts: (1) the essay and (2) the composition. The essay elucidates the composer's creative process of the orchestral works, The Heidegger Collection. The Heidegger Collection has five movements. The titles of each movement are derived from the key philosophical concepts from Heidegger's most significant writing, Being and Time: (1) State-of-Mind, (2) Idle-Talk, (3) Moment-of-Vision, (4) Dread, and (5) Being-towards-the-End. The essay discusses the meanings of the five concepts, and explains how I express my reaction to Heidegger's thinking through music composition. The essay also discusses the essential musical language of The Heidegger Collection, such as interval cycles, polyrhythmic patterns, algorithmic elements, portamento effects, chaos theory, and oriental influence.","abstract_html":"The dissertation consists of two parts: (1) the essay and (2) the composition. The essay elucidates the composer's creative process of the orchestral works, The Heidegger Collection. The Heidegger Collection has five movements. The titles of each movement are derived from the key philosophical concepts from Heidegger's most significant writing, Being and Time: (1) State-of-Mind, (2) Idle-Talk, (3) Moment-of-Vision, (4) Dread, and (5) Being-towards-the-End. The essay discusses the meanings of the five concepts, and explains how I express my reaction to Heidegger's thinking through music composition. The essay also discusses the essential musical language of The Heidegger Collection, such as interval cycles, polyrhythmic patterns, algorithmic elements, portamento effects, chaos theory, and oriental influence.","abstract_has_math":false,"creators":["Lin, Tung-Lung"],"institution":"University of North Texas","degree_name":null,"degree_level":null,"degree_discipline":null,"degree_department":null,"school":null,"contributors":["Winsor, Phil, 1938-2012","Groom-Thornton, Joan","Klein, Joseph, 1962-"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2000,"date_issued":"2000-08","date_published":"2000-08","updated_at":"2026-07-24T05:34:52Z","subjects":["Orchestral music -- Scores.","Heidegger, Martin, 1889-1976 -- Songs and music.","interval cycles","polyrhythmic patterns","algorithmic elements","portamento effects","chaos theory","oriental influence"],"languages":["English"],"rights":["Public","Copyright","Lin, Tung-Lung","Copyright is held by the author, unless otherwise noted. All rights reserved."],"rights_urls":[],"identifier_entries":[{"key":"dc:identifier","label":"Identifier","values":["oclc: 47878660","https://digital.library.unt.edu/ark:/67531/metadc2626/","ark: ark:/67531/metadc2626"],"render_values":[{"text":"oclc: 47878660","href":null,"code":true},{"text":"https://digital.library.unt.edu/ark:/67531/metadc2626/","href":"https://digital.library.unt.edu/ark:/67531/metadc2626/","code":true},{"text":"ark: ark:/67531/metadc2626","href":null,"code":true}]}]},"links":{"outbound_url":"https://doi.org/10.12794/metadc2626","outbound_label":"DOI","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Winsor, Phil, 1938-2012","Groom-Thornton, Joan","Klein, Joseph, 1962-"]},{"key":"dc:creator","label":"Author","values":["Lin, Tung-Lung"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2000-08"]},{"key":"dc:publisher","label":"Institution","values":["University of North Texas"]},{"key":"dc:type","label":"Dc Type","values":["Thesis or Dissertation"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Orchestral music -- Scores.","Heidegger, Martin, 1889-1976 -- Songs and music.","interval cycles","polyrhythmic patterns","algorithmic elements","portamento effects","chaos theory","oriental influence"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["English"]},{"key":"dc:rights","label":"Dc Rights","values":["Public","Copyright","Lin, Tung-Lung","Copyright is held by the author, unless otherwise noted. All rights reserved."]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["oclc: 47878660","doi: 10.12794/metadc2626","https://digital.library.unt.edu/ark:/67531/metadc2626/","ark: ark:/67531/metadc2626"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["The dissertation consists of two parts: (1) the essay and (2) the composition. The essay elucidates the composer's creative process of the orchestral works, The Heidegger Collection. The Heidegger Collection has five movements. The titles of each movement are derived from the key philosophical concepts from Heidegger's most significant writing, Being and Time: (1) State-of-Mind, (2) Idle-Talk, (3) Moment-of-Vision, (4) Dread, and (5) Being-towards-the-End. The essay discusses the meanings of the five concepts, and explains how I express my reaction to Heidegger's thinking through music composition. The essay also discusses the essential musical language of The Heidegger Collection, such as interval cycles, polyrhythmic patterns, algorithmic elements, portamento effects, chaos theory, and oriental influence."]},{"key":"dc:format","label":"Dc Format","values":["Text"]},{"key":"dc:title","label":"Title","values":["The Heidegger Collection"]}]}],"canonical_facts":{"dc:contributor":["Winsor, Phil, 1938-2012","Groom-Thornton, Joan","Klein, Joseph, 1962-"],"dc:creator":["Lin, Tung-Lung"],"dc:date":["2000-08"],"dc:description":["The dissertation consists of two parts: (1) the essay and (2) the composition. The essay elucidates the composer's creative process of the orchestral works, The Heidegger Collection. The Heidegger Collection has five movements. The titles of each movement are derived from the key philosophical concepts from Heidegger's most significant writing, Being and Time: (1) State-of-Mind, (2) Idle-Talk, (3) Moment-of-Vision, (4) Dread, and (5) Being-towards-the-End. The essay discusses the meanings of the five concepts, and explains how I express my reaction to Heidegger's thinking through music composition. The essay also discusses the essential musical language of The Heidegger Collection, such as interval cycles, polyrhythmic patterns, algorithmic elements, portamento effects, chaos theory, and oriental influence."],"dc:format":["Text"],"dc:identifier":["oclc: 47878660","doi: 10.12794/metadc2626","https://digital.library.unt.edu/ark:/67531/metadc2626/","ark: ark:/67531/metadc2626"],"dc:language":["English"],"dc:publisher":["University of North Texas"],"dc:rights":["Public","Copyright","Lin, Tung-Lung","Copyright is held by the author, unless otherwise noted. All rights reserved."],"dc:subject":["Orchestral music -- Scores.","Heidegger, Martin, 1889-1976 -- Songs and music.","interval cycles","polyrhythmic patterns","algorithmic elements","portamento effects","chaos theory","oriental influence"],"dc:title":["The Heidegger Collection"],"dc:type":["Thesis or Dissertation"]},"updated_at":"2026-07-24T05:34:52Z"}