Korte beschrijving/Annotatie

Identity and subjectivity in musical performances

Tekst achterflap

Identity and subjectivity in musical performances. Who is the "I" that performs? The arts of the twentieth and twenty-first centuries have pushed us relentlessly to reconsider our notions of the self, expression, and communication: to ask ourselves, again and again, who we think we are and how we can speak meaningfully to one another. Although in other performing arts studies, especially of theatre, the performance of selfhood and identity continues to be a matter of lively debate in both practice and theory, the question of how a sense of self is manifested through musical performance has been neglected. The authors of Voices, Bodies, Practices are all musician-researchers: the book employs artistic research to explore how embodied performing "voices" can emerge from the interactions of individual performers and composers, musical materials, instruments, mediating technologies, and performance contexts.

Slogan/Promotie

Who is the “I” that performs? The arts of the twentieth and twenty-first centuries have pushed us relentlessly to reconsider our notions of the self, expression, and communication: to ask ourselves, again and again, who we think we are and how we can speak meaningfully to one another. Although in other performing arts studies, especially of theatre, the performance of selfhood and identity continues to be a matter of lively debate in both practice and theory, the question of how a sense of self is manifested through musical performance has been neglected. The authors of Voices, Bodies, Practices are all musician-researchers: the book employs artistic research to explore how embodied performing “voices” can emerge from the interactions of individual performers and composers, musical materials, instruments, mediating technologies, and performance contexts.

Biografie

Catherine Laws is a pianist, Reader in Music at the University of York, and Senior Artistic Research Fellow at the Orpheus Institute. David Gorton is a composer, senior postgraduate tutor and associate head of research at the Royal Academy of Music, associate professor at the University of London, and associate researcher at the Orpheus Institute, Ghent. Jez Wells is an audio designer and senior lecturer in Sound Recording in the Department of Music at the University of York. Thanh Thủy Nguyễn is a đàn tranh player, a PhD candidate at Malmo Academy of Music at Lund University, and a đàn tranh teacher at Vietnam National Academy of Music. Stefan Östersjö is a guitarist, chaired professor of Musical Performance in Piteå School of Music at Luleå University of Technology, and associate researcher at the Orpheus Institute, Ghent. William Brooks is a composer, professor of Music at the University of York, professor emeritus at the University of Illinois, and senior research fellow and series editor at the Orpheus Institute, Ghent.

Inhoudsopgave

Figures Contents of the Online Repository of Supplemental Files Introduction Catherine Laws Chapter 1 Austerity Measures I: Performing the Discursive Voice David Gorton and Stefan Östersjö Part 1: Collaboration and the discursive voice Part 2: Analysing the discursive voice in performance Conclusions Chapter 2 Being a Player: Agency and Subjectivity in Player Piano Catherine Laws Part 1: Player Piano and Saying “I” Part 2: The Embodied Subject in Player Piano Part 3: Instrument as Agent Part 4: From Instrument to Ecology Postlude: “Alone With My Ten Fingers”? Chapter 3 Footnotes William Brooks, Stefan Östersjö, and Jeremy J. Wells Part 1 Part 2 Part 3 Chapter 4 Arrival Cities: Hanoi Nguyễn Thanh Thủy and Stefan Östersjö Arrival Cities: Hanoi 1. Introduction 2. Modes of collaboration 3. Documentary, empathy, and inter-subjectivity 4. The making of Arrival Cities: Hanoi 5. The discursive voice in intercultural collaboration Conclusion Catherine Laws References Notes on Contributors Index

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