Voices, Bodies, Practices

Performing Musical Subjectivities

Catherine Laws (Author), William Brooks (Author), David Gorton (Author), Nguyễn Thanh Thủy (Author), Stefan Östersjö (Author), Jeremy J. Wells (Author),

Series: Orpheus Institute Series

Category: Artistic Practice, Music

Language: English

ISBN: 9789462702059

Publication date: November 25, 2019

€49.50 (including 6% VAT)

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Number of pages: 328

Size: 285 x 195 x 26 mm

Number of illustrations: 60

Illustrations and other content description:
Illustrated b/w Guaranteed Peer Reviewed Content

Stock item: 132116

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Series: Orpheus Institute Series

Category: Artistic Practice, Music

Language: English

DOI: 10.11116/9789461663061

ISBN: 9789461663061

Publication date: November 25, 2019

€37.00 (including 6% VAT)

Buy Now

Number of pages: 328

Number of illustrations: 60

Illustrations and other content description:
Illustrated b/w Guaranteed Peer Reviewed Content

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Identity and subjectivity in musical performancesWho 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.

This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).

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Contents of the Online Repository of Supplemental Files

Introduction
Catherine Laws

Chapter 1Austerity 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 2Being a Player: Agency and Subjectivity in Player PianoCatherine Laws

Part 1: Player Piano and Saying “I”
Part 2: The Embodied Subject in Player PianoPart 3: Instrument as Agent
Part 4: From Instrument to Ecology
Postlude: “Alone With My Ten Fingers”?

Chapter 3Footnotes
William Brooks, Stefan Östersjö, and Jeremy J. Wells

Part 1
Part 2
Part 3

Chapter 4Arrival 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

Catherine Laws

Catherine Laws is a pianist, reader in Music at the University of York, and senior artistic research fellow at the Orpheus Institute.

William Brooks

William Brooks is professor of music at the University of York, emeritus professor at the University of Illinois, scholar-in-residence at the Newberry Library, and senior research fellow at the Orpheus Institute.

David Gorton

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.

Nguyễn Thanh Thủy

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

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.

Jeremy J. Wells

Jez Wells is an audio designer and senior lecturer in Sound Recording in the Department of Music at the University of York.

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