"Kyong Mee Choi’s ""The Eternal Tao"" interdisciplinary arts: music, choreography, lighting, and videography"
Chao, Tai-Kuang
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https://hdl.handle.net/2142/102125
Description
Title
"Kyong Mee Choi’s ""The Eternal Tao"" interdisciplinary arts: music, choreography, lighting, and videography"
Author(s)
Chao, Tai-Kuang
Issue Date
2018
Director of Research (if dissertation) or Advisor (if thesis)
Lund, Erik
Doctoral Committee Chair(s)
Lund, Erik
Committee Member(s)
Magee, Gayle Sherwood
Tharp, Reynold
Williams, Michael
Department of Study
School of Music
Discipline
Music
Degree Granting Institution
University of Illinois at Urbana-Champaign
Degree Name
A.Mus.D. (doctoral)
Keyword(s)
Kyong Mee Choi
The Eternal Tao
interdisciplinary
electronic-acoustic
multi-media opera
Tao Te Ching
Language
en
Abstract
This thesis explores the dimensions and difficulties involved in creating new,
interdisciplinary art forms,
with its primary focus on Kyong Mee Choi’s one-act multi-media
production,
The Eternal Tao.
The
Introduction
begins with a brief discussion of interdisciplinary art works, extending
from Wagner and Scriabin,
to contemporary artists and productions such as
Fluxus, the Kronos
Quartet,
Cirque de Soleil, and collaborative multi-media opera.
Chapter 1
introduces the composer,
Kyong Mee Choi (b. 1971)
and
the
genesis
of
The
Eternal Tao
(2010).
Chapter 2
provides an extensive analysis of the acoustic and electro-acoustic music for
each of the twelve sections of
The Eternal Tao, covering instrumentation, pitch collections,
compositional techniques, and Choi’s methods for reprising material.
Chapter 3
treats lighting and choreography for
The Eternal Tao, offering suggested
modifications for both lighting (movement, intensity and color) and choreography (‘travelling’,
partner/group relationship, body action). Also introduced here are
suggested
techniques for
the
use of
Labanotation as an effective method for preserving the composer’s own directions for her
choreography.
The
Conclusion
offers
a discussion of the problems posed by collaborations, from the
point of view of the
composer-as-director.
Two appendices provide the texts from the
Tao Te Ching
used (or implied) in the score of
The Eternal Tao, and the text of an email interview with Kyong Mee Choi by the author.
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