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  • Performance, Subjectivity, and Experimentation (boek)

Performance, Subjectivity, and Experimentation

Catherine Laws • ebook • pdf

  • Samenvatting
    Music reflects subjectivity and identity: that idea is now deeply ingrained in both musicology and popular media commentary. The study of music across cultures and practices often addresses the enactment of subjectivity “in” music – how music expresses or represents “an” individual or “a” group. However, a sense of selfhood is also formed and continually reformed through musical practices, not least performance. How does this take place? How might the work of practitioners reveal aspects of this process? In what sense is subjectivity performed in and through musical practices? This book explores these questions in relation to a range of artistic research involving contemporary music, drawing on perspectives from performance studies, phenomenology, embodied cognition, and theories of gendered and cultural identity. Contributors: Steve Benford (University of Nottingham), Richard Craig (freelance performer and researcher), David Gorton (Royal Academy of Music, London), Christopher Greenhalgh (University of Nottingham), Adrian Hazzard (University of Nottingham), Juliana Hodkinson (Grieg Academy, University of Bergen), Maria Kallionpää (Aalborg University), Zubin Kanga (Royal Holloway, University of London), Catherine Laws (University of York/Orpheus Institute), Jin Hyung Lim (Keimyung University), Thanh Thủy Nguyễn (Malmö Academy of Music, Lund University/Vietnam National Academy of Music), Stefan Östersjö (Piteå School of Music, Luleå University of Technology/Orpheus Institute), Deniz Peters (University of Music and Performing Arts, Graz), Eleanor Roberts (University of Roehampton), Anne Veinberg (Orpheus Institute)

    Music reflects subjectivity and identity: that idea is now deeply ingrained in both musicology and popular media commentary. The study of music across cultures and practices often addresses the enactment of subjectivity "in" music - how music expresses or represents "an" individual or "a" group. However, a sense of selfhood is also formed and continually reformed through musical practices, not least performance. How does this take place? How might the work of practitioners reveal aspects of this process? In what sense is subjectivity performed in and through musical practices? This book explores these questions in relation to a range of artistic research involving contemporary music, drawing on perspectives from performance studies, phenomenology, embodied cognition, and theories of gendered and cultural identity. Contributors: Steve Benford (University of Nottingham), Richard Craig (freelance performer and researcher), David Gorton (Royal Academy of Music, London), Christopher Greenhalgh (University of Nottingham), Adrian Hazzard (University of Nottingham), Juliana Hodkinson (Grieg Academy, University of Bergen), Maria Kallionpää (Aalborg University), Zubin Kanga (Royal Holloway, University of London), Catherine Laws (University of York/Orpheus Institute), Jin Hyung Lim (Keimyung University), Thanh Thủy Nguyễn (Malmö Academy of Music, Lund University/Vietnam National Academy of Music), Stefan Östersjö (Piteå School of Music, Luleå University of Technology/Orpheus Institute), Deniz Peters (University of Music and Performing Arts, Graz), Eleanor Roberts (University of Roehampton), Anne Veinberg (Orpheus Institute)
  • Productinformatie
    Binding : PDF
    Auteur : Catherine Laws
    Bestandstype : PDF
    Distributievorm : Ebook (digitaal)
    Aantal pagina's : Afhankelijk van e-reader
    Beveiliging : Digitaal watermerk (social DRM)   Informatie 
    Uitgeverij : Leuven University Press
    ISBN : 9789461663313
    Datum publicatie : 07-2020
  • Inhoudsopgave
    Introduction Catherine Laws Between I and You in Music: Shared Emotions, Relational Improvisation, and Artistic Research Deniz Peters Moving and Being Moved: Affective Resonance at Play in Sonic Performances Juliana Hodkinson Negotiating the Discursive Voice in Chamber Music David Gorton and Stefan Östersjö Deus ex Disklavier: Subjectivity and Technological Resistance in the Performance of Maria Kallionpää’s Climb! for Disklavier and Electronics Zubin Kanga, Anne Veinberg, Maria Kallionpää, Adrian Hazzard, Chris Greenhalgh and Steve Benford “by way of the BREATH, to the LINE” Richard Craig Performing Being a Pianist: Gender and Embodied Subjectivity in Performing Annea Lockwood’s Ceci n’est pas un piano Catherine Laws Charlotte Moorman and “Avant-Garde Music”: A Feminist History of Performance Experimentation Eleanor Roberts Inside the Choreography of Gender Nguyễn Thanh Thủy and Stefan Östersjö Identity Performance and Performing Identity: Performing Isang Yun’s Fünf Stücke für Klavier (1958) Jin Hyung Lim Notes on Contributors Index
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