Relatively recent developments in music technology have led to the increased popularity of mechanical, prefabricated genres of art music, such as musique concr?te and player piano rolls among experimental composers. These innovations have engendered a much more recent response on the part of performers of new music, who frequently bypass the original medium of a piece in an attempt to render it live. This paper develops and applies musicological and sociological tools in order to analyze the relationship between posthuman and post-posthuman performance in fixed media works by Brian Eno and Conlon Nancarrow. After tracing the historical roots of the practice of recomposition, I argue that the transformation of musical parameters which occurs in this transition both reveals and revises the sociocultural value of the original work.
"},{"label":"Degree","value":["Bachelor of Arts with Departmental Honors"]},{"label":"Administrative Note","value":"2018