Dissertation for the PhD degree Norwegian Academy of Music, Oslo 2017 - Avhandling (Ph.D.) - Norg... more Dissertation for the PhD degree Norwegian Academy of Music, Oslo 2017 - Avhandling (Ph.D.) - Norges musikkhogskole, 2017
This article seeks to illuminate the relationship between instrumental practice and musical struc... more This article seeks to illuminate the relationship between instrumental practice and musical structure in Aldo Clementi’s Ricercare for solo guitar. It is the claim of the article that Clementi’s take on instrumental practice raises the question of interpretation itself as an individual strand of the composition and that the performative negotiation of musical structure is at the heart of the work. In this way, Clementi represents a new paradigm of composition where musical structure cannot be seen outside of the performative context. Thus, in necessarily having to negotiate notation and performance, the performer is invited to question his own musical practice, sensibility and perception.
The full title of the thesis is Music of the Margins. Radically Idiomatic Instrumental Practice i... more The full title of the thesis is Music of the Margins. Radically Idiomatic Instrumental Practice in Solo Guitar Works by Richard Barrett, Brian Ferneyhough and Klaus K. Hübler.
The project seeks to assess the role of instrumental practice in works for guitar solo by Brian Ferneyhough, Richard Barrett and Klaus K. Hübler. In these works, the composers have extracted the musical material directly from the instrumental practice and the concrete physical properties of the instrument and the performing body, restructuring the relationship between musical material and practice from its most minute details in what Richard Barrett terms a radically idiomatic approach to composition. Although clearly central to the interests of the composers in question, the radically idiomatic has been largely ignored by the reception of their works.
The analytic framework of the study takes Michel Foucault’s notion of discursive practices as a point of departure in order to grasp the corporeal materiality of the compositions. Drawing heavily on the writings of Jacques Derrida, the inclusion of the physical conditions of musical realisation within compositional technique is understood as a deconstruction of the work/realisation-dichotomy.
Extending the Foucauldian perspective, the project also establishes a theory of instrumental practice as a means of subjectivation. The deconstruction of instrumental practice found in the radically idiomatic works is thus viewed as a critique of the concrete microphysics of power invested in the instrumental tradition, and as a critique of the notion of performer subjectivity so central to Western aesthetic thought.
Dissertation for the PhD degree Norwegian Academy of Music, Oslo 2017 - Avhandling (Ph.D.) - Norg... more Dissertation for the PhD degree Norwegian Academy of Music, Oslo 2017 - Avhandling (Ph.D.) - Norges musikkhogskole, 2017
This article seeks to illuminate the relationship between instrumental practice and musical struc... more This article seeks to illuminate the relationship between instrumental practice and musical structure in Aldo Clementi’s Ricercare for solo guitar. It is the claim of the article that Clementi’s take on instrumental practice raises the question of interpretation itself as an individual strand of the composition and that the performative negotiation of musical structure is at the heart of the work. In this way, Clementi represents a new paradigm of composition where musical structure cannot be seen outside of the performative context. Thus, in necessarily having to negotiate notation and performance, the performer is invited to question his own musical practice, sensibility and perception.
The full title of the thesis is Music of the Margins. Radically Idiomatic Instrumental Practice i... more The full title of the thesis is Music of the Margins. Radically Idiomatic Instrumental Practice in Solo Guitar Works by Richard Barrett, Brian Ferneyhough and Klaus K. Hübler.
The project seeks to assess the role of instrumental practice in works for guitar solo by Brian Ferneyhough, Richard Barrett and Klaus K. Hübler. In these works, the composers have extracted the musical material directly from the instrumental practice and the concrete physical properties of the instrument and the performing body, restructuring the relationship between musical material and practice from its most minute details in what Richard Barrett terms a radically idiomatic approach to composition. Although clearly central to the interests of the composers in question, the radically idiomatic has been largely ignored by the reception of their works.
The analytic framework of the study takes Michel Foucault’s notion of discursive practices as a point of departure in order to grasp the corporeal materiality of the compositions. Drawing heavily on the writings of Jacques Derrida, the inclusion of the physical conditions of musical realisation within compositional technique is understood as a deconstruction of the work/realisation-dichotomy.
Extending the Foucauldian perspective, the project also establishes a theory of instrumental practice as a means of subjectivation. The deconstruction of instrumental practice found in the radically idiomatic works is thus viewed as a critique of the concrete microphysics of power invested in the instrumental tradition, and as a critique of the notion of performer subjectivity so central to Western aesthetic thought.
Uploads
The project seeks to assess the role of instrumental practice in works for guitar solo by Brian Ferneyhough, Richard Barrett and Klaus K. Hübler. In these works, the composers have extracted the musical material directly from the instrumental practice and the concrete physical properties of the instrument and the performing body, restructuring the relationship between musical material and practice from its most minute details in what Richard Barrett terms a radically idiomatic approach to composition. Although clearly central to the interests of the composers in question, the radically idiomatic has been largely ignored by the reception of their works.
The analytic framework of the study takes Michel Foucault’s notion of discursive practices as a point of departure in order to grasp the corporeal materiality of the compositions. Drawing heavily on the writings of Jacques Derrida, the inclusion of the physical conditions of musical realisation within compositional technique is understood as a deconstruction of the work/realisation-dichotomy.
Extending the Foucauldian perspective, the project also establishes a theory of instrumental practice as a means of subjectivation. The deconstruction of instrumental practice found in the radically idiomatic works is thus viewed as a critique of the concrete microphysics of power invested in the instrumental tradition, and as a critique of the notion of performer subjectivity so central to Western aesthetic thought.
The project seeks to assess the role of instrumental practice in works for guitar solo by Brian Ferneyhough, Richard Barrett and Klaus K. Hübler. In these works, the composers have extracted the musical material directly from the instrumental practice and the concrete physical properties of the instrument and the performing body, restructuring the relationship between musical material and practice from its most minute details in what Richard Barrett terms a radically idiomatic approach to composition. Although clearly central to the interests of the composers in question, the radically idiomatic has been largely ignored by the reception of their works.
The analytic framework of the study takes Michel Foucault’s notion of discursive practices as a point of departure in order to grasp the corporeal materiality of the compositions. Drawing heavily on the writings of Jacques Derrida, the inclusion of the physical conditions of musical realisation within compositional technique is understood as a deconstruction of the work/realisation-dichotomy.
Extending the Foucauldian perspective, the project also establishes a theory of instrumental practice as a means of subjectivation. The deconstruction of instrumental practice found in the radically idiomatic works is thus viewed as a critique of the concrete microphysics of power invested in the instrumental tradition, and as a critique of the notion of performer subjectivity so central to Western aesthetic thought.