{"id":{"repo_id":"uwo","oai_identifier":"oai:uwo.scholaris.ca:20.500.14721/35320"},"canonical_url":"https://search.dev.ndltd.org/etd/uwo/oai:uwo.scholaris.ca:20.500.14721/35320","repository":{"repo_id":"uwo","name":"Western University","base_url":"https://uwo.scholaris.ca/server/oai/request"},"display":{"title":"Toward a Postmodern Avant-Garde: Labour, Virtuosity, and Aesthetics in an American New Music Ensemble","abstract":"This dissertation examines the aesthetic beliefs and labour practices of the American new music ensemble eighth blackbird (lower-case intentional). Drawing on ethnographic research conducted with the ensemble for the past six years, I show how the ensemble responds to specific cultural pressures endemic to the classical music scene, its new music vanguard, and to the contemporary United States. eighth blackbird, I argue, has created an ensemble identity and performance style designed to satisfy numerous audience positions, from experts well-versed in the intricacies of musical techniques to lay-persons unacquainted with the values and practices of new or classical music. This attempt to satisfy such a range of perspectives has lead to an oscillation between modernist values traditionally associated with art music culture and postmodern values typically found within more profit-driven musical practices. Modernism—partially defined here as a belief in a linear and stable history, structural listening, musical virtuosity, and restrained performer movement—is foundational to eighth blackbird’s work. At the same time, ensemble members embrace postmodern values including a celebratory mix of musical styles, attempts to provide accessible concerts, and an adoption of post-Fordist branding wherein personality and the display of labour figures as part of a marketing strategy. By examining the specific rationalizations of and objections to eighth blackbird’s practices, I theorize the existence of a “postmodern avant-garde,” a subculture of musicians and arts workers who attempt to remake avant-garde music into a more accessible and profitable enterprise.","abstract_html":"This dissertation examines the aesthetic beliefs and labour practices of the American new music ensemble eighth blackbird (lower-case intentional). Drawing on ethnographic research conducted with the ensemble for the past six years, I show how the ensemble responds to specific cultural pressures endemic to the classical music scene, its new music vanguard, and to the contemporary United States. eighth blackbird, I argue, has created an ensemble identity and performance style designed to satisfy numerous audience positions, from experts well-versed in the intricacies of musical techniques to lay-persons unacquainted with the values and practices of new or classical music. This attempt to satisfy such a range of perspectives has lead to an oscillation between modernist values traditionally associated with art music culture and postmodern values typically found within more profit-driven musical practices. Modernism—partially defined here as a belief in a linear and stable history, structural listening, musical virtuosity, and restrained performer movement—is foundational to eighth blackbird’s work. At the same time, ensemble members embrace postmodern values including a celebratory mix of musical styles, attempts to provide accessible concerts, and an adoption of post-Fordist branding wherein personality and the display of labour figures as part of a marketing strategy. By examining the specific rationalizations of and objections to eighth blackbird’s practices, I theorize the existence of a “postmodern avant-garde,” a subculture of musicians and arts workers who attempt to remake avant-garde music into a more accessible and profitable enterprise.","abstract_has_math":false,"creators":["Pippen, John R"],"institution":"The University of Western Ontario","degree_name":"Ph D","degree_level":null,"degree_discipline":"Music","degree_department":null,"school":null,"contributors":[],"advisors":["Ansari, Emily Abrams"],"committee_chairs":[],"committee_members":[],"year":2014,"date_issued":"2014-09-10","date_published":"2014-09-10","updated_at":"2026-07-27T21:56:05Z","subjects":["Avant-garde","new music","classical music","modernism","postmodernism","virtuosity","branding","labour","aesthetics","eighth blackbird","ethnography","performance","choreography"],"languages":["en_ca"],"rights":[],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"https://hdl.handle.net/20.500.14721/35320","outbound_label":"Handle","outbound_source":"dc:identifier.uri"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor.advisor","label":"Advisor","values":["Ansari, Emily Abrams"]},{"key":"dc:creator","label":"Author","values":["Pippen, John R"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.accessioned","label":"Dc Date Accessioned","values":["2025-07-10T20:36:47Z"]},{"key":"dc:date.available","label":"Dc Date Available","values":["2025-07-10T20:36:47Z"]},{"key":"dc:date.issued","label":"Date","values":["2014-09-10"]},{"key":"dc:publisher","label":"Institution","values":["The University of Western Ontario"]},{"key":"dc:type","label":"Dc Type","values":["thesis"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Music"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Ph D"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Avant-garde","new music","classical music","modernism","postmodernism","virtuosity","branding","labour","aesthetics","eighth blackbird","ethnography","performance","choreography"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language.iso","label":"Language (ISO)","values":["en_ca"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier.uri","label":"Identifier URI","values":["https://hdl.handle.net/20.500.14721/35320"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["The thesis cover page in the PDF document includes references to Western University’s previous institutional repository platform, known as Scholarship@Western, and links to that platform (beginning with ir.lib.uwo.ca). In citing or referring to this thesis, use the DOI or handle from this page instead. Sample citation: Author name, \"Thesis title.\" (Year). Western University Open Repository. https://doi.org/10.71858/123456."]},{"key":"dc:description.abstract","label":"Abstract","values":["This dissertation examines the aesthetic beliefs and labour practices of the American new music ensemble eighth blackbird (lower-case intentional). Drawing on ethnographic research conducted with the ensemble for the past six years, I show how the ensemble responds to specific cultural pressures endemic to the classical music scene, its new music vanguard, and to the contemporary United States. eighth blackbird, I argue, has created an ensemble identity and performance style designed to satisfy numerous audience positions, from experts well-versed in the intricacies of musical techniques to lay-persons unacquainted with the values and practices of new or classical music. This attempt to satisfy such a range of perspectives has lead to an oscillation between modernist values traditionally associated with art music culture and postmodern values typically found within more profit-driven musical practices. Modernism—partially defined here as a belief in a linear and stable history, structural listening, musical virtuosity, and restrained performer movement—is foundational to eighth blackbird’s work. At the same time, ensemble members embrace postmodern values including a celebratory mix of musical styles, attempts to provide accessible concerts, and an adoption of post-Fordist branding wherein personality and the display of labour figures as part of a marketing strategy. By examining the specific rationalizations of and objections to eighth blackbird’s practices, I theorize the existence of a “postmodern avant-garde,” a subculture of musicians and arts workers who attempt to remake avant-garde music into a more accessible and profitable enterprise."]},{"key":"dc:title","label":"Title","values":["Toward a Postmodern Avant-Garde: Labour, Virtuosity, and Aesthetics in an American New Music Ensemble"]}]}],"canonical_facts":{"dc:contributor.advisor":["Ansari, Emily Abrams"],"dc:creator":["Pippen, John R"],"dc:date.accessioned":["2025-07-10T20:36:47Z"],"dc:date.available":["2025-07-10T20:36:47Z"],"dc:date.issued":["2014-09-10"],"dc:description":["The thesis cover page in the PDF document includes references to Western University’s previous institutional repository platform, known as Scholarship@Western, and links to that platform (beginning with ir.lib.uwo.ca). In citing or referring to this thesis, use the DOI or handle from this page instead. 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