Performance, Subjectivity, and Experimentation

Edited by Catherine Laws

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Performance in the fields of contemporary music, subjectivity and identity

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)

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

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

Format: Edited volume - paperback

Size: 285 × 195 × 20 mm

242 pages

ISBN: 9789462702318

Publication: July 01, 2020

Series: Orpheus Institute Series

Languages: English

Stock item number: 135746

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