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dc.contributor.authorde Haan, Simone
dc.date.accessioned2018-02-14T03:51:07Z
dc.date.available2018-02-14T03:51:07Z
dc.date.created1998-03-26T00:00:00Zen_US
dc.date.issued1998
dc.identifier.urihttp://hdl.handle.net/10072/368708
dc.description.abstractIt is only through the aural perception of the sound, whether it is in the composing, performing or listening stages, that the essential connection is made with a "sounding" music. Once that fundamental connection is made, it then becomes possible to achieve a common sense of purpose toward the development of a direct relationship between the composer, performer and listener, in a shared community ritual of celebration. Through this type of action, the unfolding of the sounds themselves can support all of the musicians involved in the listening process in becoming part of the performance, through composing, performing, or re-­composing the music in their own minds, in one sense or another.en_US
dc.languageEnglishen_US
dc.publisherGriffith Universityen_US
dc.publisher.placeBrisbaneen_US
dc.relation.ispartofseriesProfessorial Lecture Series No. 1en_US
dc.titleThe Relationship between the Composer, Performer and Listener in Twentieth Century Music Makingen_US
dc.typeOtheren_US
gro.rights.copyright© 1998 Griffith Universityen_US
gro.hasfulltextFull Text
gro.departmentQueensland Conservatoriumen_US
gro.griffith.authorde Haan, Simone


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    Contains the Griffith Professorial Lecture Series for the period 1995 to 2005.

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