Time and Ensemble Dynamics in Indeterminacy: John Cage’s Concert for Piano and Orchestra

2021 ◽  
pp. 504-526
Author(s):  
Emily Payne

This chapter examines ensemble dynamics and time consciousness in indeterminate music, using John Cage’s Concert for Piano and Orchestra (1957–8) as a case study. Drawing on interviews and observational studies undertaken with the experimental music ensemble Apartment House, I examine the role of temporal indeterminacy in the socio-musical interactions that characterize performance, and its implications for the musicians’ experiences. In doing so, the chapter makes a broader contribution in its consideration of the ways in which issues of authorship and authority are negotiated in such temporal interactions, and how the dynamics of these negotiations present a sociality based on a ‘separate togetherness’, whereby performers play together (out of time) with one another.

Author(s):  
Samiksha Bhuran

                          Venous ulcer is one of the common and difficult to treat cases as it has a high recurrence rate and non-healing nature, failure of graft acceptance, and many agrrevating factors. Treatment is mostly surgical and not affordable to everyone. Many theories were proposed to find the exact cause of the condition and yet it is uncertain. Ayurvedic protocol based treatments helps in treating such conditions thereby improving the agni, bala, satva of such patients along with successful healing. As the treatment is time taking and the patient already has an idea about it, stepwise treatment plays a major role and hence it is a topic were observational studies are required. This paper highlights the role of Ayurvedic protocol in a complicated case with previous surgical histories, failure, and co morbid where amputation and failure of graft was already suggested to the patient previously.


2021 ◽  
pp. 148-154
Author(s):  
Emily Payne ◽  
Philip Thomas

Examining ensemble interaction in the music of experimental composer Christian Wolff, this chapter uses as a case study a professional recording session undertaken by the ensemble Apartment House of <em>Exercises</em> (1973–2013), a series of pieces for (mostly) unspecified instrumentation and numbers of players. Wolff’s skeletal notation is deliberately under-determined, acting like something of a puzzle to be solved. Consequently, the players must negotiate a way of working with the notation and with each other, making decisions prior to, and during, the moment of performance. Drawing on interviews and observational studies, the chapter identifies three different forms of interaction in the musicians’ playing as they engaged with Wolff’s notation: working responsively, independently, and emergently. The chapter offers a view of ensemble interaction that is characterized by cooperation, but also uncertainty, surprise, or even complete breakdown.


1987 ◽  
Author(s):  
William A. Worrall ◽  
Ann W. Stockman

2019 ◽  
Vol 3 (1) ◽  
pp. 1-9
Author(s):  
Robert M. Anderson ◽  
Amy M. Lambert

The island marble butterfly (Euchloe ausonides insulanus), thought to be extinct throughout the 20th century until re-discovered on a single remote island in Puget Sound in 1998, has become the focus of a concerted protection effort to prevent its extinction. However, efforts to “restore” island marble habitat conflict with efforts to “restore” the prairie ecosystem where it lives, because of the butterfly’s use of a non-native “weedy” host plant. Through a case study of the island marble project, we examine the practice of ecological restoration as the enactment of particular norms that define which species are understood to belong in the place being restored. We contextualize this case study within ongoing debates over the value of “native” species, indicative of deep-seated uncertainties and anxieties about the role of human intervention to alter or manage landscapes and ecosystems, in the time commonly described as the “Anthropocene.” We interpret the question of “what plants and animals belong in a particular place?” as not a question of scientific truth, but a value-laden construct of environmental management in practice, and we argue for deeper reflexivity on the part of environmental scientists and managers about the social values that inform ecological restoration.


2018 ◽  
Vol 5 (3) ◽  
pp. 70-77
Author(s):  
Irina Lešnik

Abstract In the following article we try to re-evaluate, the place drama occupies in contemporary elementary education. By limiting the role of drama to literature studies and theatre productions, we lose a greater potential Theatre Pedagogy has to offer to a much broader educational spectrum. The participatory practices of Theatre and Drama in Education (TiE, DiE) promote active learning, based on a most organic children’s activity - play. While students co-create the fictional world of drama, teacher's guidance is crucial in setting new challenges, encouraging students to find creative solutions and reflect on often-complex social issues. Because of its art component, drama challenges the participants on a cognitive as well as emotional level, becoming a truly transformational experience. As such, Drama in Education is especially useful when approaching sensitive and controversial topics. This thesis is presented on a case study observing Year 6 students at St’ Michael’s CE Academy in Birmingham, UK, using Drama in Education method as part of History curriculum.


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