Lauren V Coons | University of New Mexico (original) (raw)

Lauren V Coons

Lauren Valerie Coons is an intermedia composer, performer, dancer, writer, and music scholar from Albuquerque, New Mexico. She holds a Master of Music degree in music theory & composition and musicology from the University of New Mexico. In addition to her scholarly work in American experimental music, Lauren has composed and performed numerous intermedia and interdisciplinary works for a variety of audiences and performers. She is committed to cultivating a creative practice using composition as a platform for interdisciplinary exchange, innovative approaches to improvisation, collaboration, and performance in social and community contexts.

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Papers by Lauren V Coons

Research paper thumbnail of Juegos Nuevomexicanos: Preserving and Performing a Conflicted Identity through Children's Songs and Games

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Research paper thumbnail of Applying Transformational Theories: A Combined Approach Toward an Analysis of Debussy's Ariettes Oubliées no. 5, " Green "

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Research paper thumbnail of Turning Into Bluegrass: Characterizing a Genre through Comparative Analysis

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Research paper thumbnail of THE COMPOSER AS READER: A COMPARATIVE ANALYSIS OF TWO SETTINGS OF PAUL VERLAINE'S " GREEN "

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Research paper thumbnail of Reestablishing Unity: Postmodern Connectivity in the Art of Meredith Monk

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Thesis Chapters by Lauren V Coons

Research paper thumbnail of Indeterminacy as Social Practice in Contemporary Art Music

This work examines the social practice element of contemporary indeterminate music. Through hist... more This work examines the social practice element of contemporary indeterminate music. Through historical and critical research, and analysis of some contemporary indeterminate works, I provide a view of indeterminacy as a subversive experimental music practice that challenges both the forms of alienation present in Western art-music culture and the concepts and power structures that have contributed to them. I compare and contrast indeterminacy with other terms and concepts related to “open works,” specifically aleatory, chance, and improvisation. A discussion of various philosophical viewpoints regarding the concept of the musical “work” and the role of the composer reveal ways in which indeterminacy challenges those enculturated notions which underlie various modernist alienations. Critical analyses of several indeterminate works by composers Christian Wolff, Mario Lavista, Tod Machover, John Zorn, and Carolyn Chen demonstrate some social practice strategies of countering or responding to alienation employed by contemporary composers.

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Research paper thumbnail of Juegos Nuevomexicanos: Preserving and Performing a Conflicted Identity through Children's Songs and Games

Bookmarks Related papers MentionsView impact

Research paper thumbnail of Applying Transformational Theories: A Combined Approach Toward an Analysis of Debussy's Ariettes Oubliées no. 5, " Green "

Bookmarks Related papers MentionsView impact

Research paper thumbnail of Turning Into Bluegrass: Characterizing a Genre through Comparative Analysis

Bookmarks Related papers MentionsView impact

Research paper thumbnail of THE COMPOSER AS READER: A COMPARATIVE ANALYSIS OF TWO SETTINGS OF PAUL VERLAINE'S " GREEN "

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Research paper thumbnail of Reestablishing Unity: Postmodern Connectivity in the Art of Meredith Monk

Bookmarks Related papers MentionsView impact

Research paper thumbnail of Indeterminacy as Social Practice in Contemporary Art Music

This work examines the social practice element of contemporary indeterminate music. Through hist... more This work examines the social practice element of contemporary indeterminate music. Through historical and critical research, and analysis of some contemporary indeterminate works, I provide a view of indeterminacy as a subversive experimental music practice that challenges both the forms of alienation present in Western art-music culture and the concepts and power structures that have contributed to them. I compare and contrast indeterminacy with other terms and concepts related to “open works,” specifically aleatory, chance, and improvisation. A discussion of various philosophical viewpoints regarding the concept of the musical “work” and the role of the composer reveal ways in which indeterminacy challenges those enculturated notions which underlie various modernist alienations. Critical analyses of several indeterminate works by composers Christian Wolff, Mario Lavista, Tod Machover, John Zorn, and Carolyn Chen demonstrate some social practice strategies of countering or responding to alienation employed by contemporary composers.

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