The purpose of this document is to examine and attempt to standardize a
pedagogical method for extended techniques for the tuba. This document will pull from
various source materials including repertoire for the tuba and an examination of various
documents on extended techniques for other instruments.
This document will include
common existing extended techniques for the tuba and will attempt to introduce new
extended techniques that can be adapted for the tuba. Each technique will be described
from a proposed sound concept. Notational examples from the repertoire will be
included to aid in understanding the function of the sound concept.
"Essentially, music is a contract...a form of legislation. For any form of notation to be effective, there must be an agreed set of components or elements."
"Small can be complex:
Consciousness is valuable to us. Indeed, it is arguably the most valuable thing of all: it is what allows us to enjoy our interactions with the world, and it is what confers moral status upon us.
If consciousness was not preserved by the mind-uploading process, it is difficult to see why we would care. So consciousness is a necessary condition for a valuable form of mind-uploading. That does not, however, make it a sufficient condition.
So is the "Irrational Enterprise" a real compositional idealism?"
Polysemy connotes a multiplicity of meanings in a given compositional
notation referring at once to multiple contexts for interpretation. Perhaps the
most inclusive category of its kind, polysemy indicates the coincidence of
multiple and sometimes contradictory meanings under the same notation, as
opposed to irony, a discrepancy between two meanings or interpretations;
aporia, a logical impasse; or indeterminacy, an indecision with regard to
There are two fundamental paradigms by which one can think
about the occurrence of polysemy in musical composition; referential and
The referential paradigm assumes that notation has the basic
function of referentiality, i.e., it points to things that exist outside it;
accordingly, polysemy would be understood as a trait of certain notational
passages in which signs do not function ordinarily (having one or two referents
at most) but bear multiple relational associations, so that such a notational
passage becomes a reverberating echo chamber of meanings.
Nevertheless, these intricate webs of meanings and
associations do not occur spontaneously but are aligned along the same axis of
symbolical associations. A sign in a given polysemous composition will bear
multiple relational meanings, while certain unassociated meanings will remain
excluded from consideration.
Even though each signifier will have more than two
signifieds, polysemy under the referential paradigm will always remain a
polysemy of controlled meanings— confined, as it were, to the rule of