Performance Studies (Music)

In her close professional relationship to composers, such as Luciano Berio, John Cage, Hans Werner Henze, Igor Stravinsky and Sylvano Bussotti, Cathy Berberian has productively tainted historical preconceptions about the authorial “work” and the role of the singer in the realization of the composer’s creation. Her flamboyant character on the concert stage, where she showcased her more popular work, captured the public’s imagination. The success of this performer–audience rapport was intrinsic to the singer’s performative persona; however Pieter Verstraete argues that through her own composed work ("Stripsody" is the best known), Berberian presented a myriad of personas. She achieved this primarily by deconstructing her own voice as instrument and object, thereby subverting the stability of her relationship to the authorial power of the musical score. Consequently, Berberian’s work invites us to rethink the authorial position of the composer in relation to the singer/performer as well as the enhanced position of the listener whose function it is to imagine such personas in relation to seeing and hearing the performer’s singing body over a number of changing instances.

Resumo: O presente trabalho trata-se de um recorte de pesquisa de mestrado que busca investigar o papel da improvisação na aprendizagem da clarineta em que foram investigados os processos de improvisação a partir de como os estudantes observam e avaliam o seu próprio processo de aprendizagem. Esse estudo teve como objetivo delinear, por meio da pesquisa bibliográfica, parâmetros teóricos que embasam o pressuposto de que a improvisação pode promover a autonomia do estudante perante sua aprendizagem instrumental. Os resultados mostraram que a improvisação na aprendizagem instrumental promove uma autonomia do estudante frente à sua aprendizagem, pois ao atribuir significado aos conteúdos adquiridos, sendo capazes de reorganizá-los e reaplicá-los, os alunos criar um discurso musical próprio. Palavras-chave: improvisação, aprendizagem instrumental, educação musical. Improvisation in instrumental music learning: the student as subject of their own learning process Abstract: This paper was based in a master's research that investigates the role of improvisation in learning the clarinet with young children. We investigated the improvisational process based on how students observe and evaluate their own learning process. This study aimed to outline, through literature, theoretical parameters that support the idea that improvisation can promote student autonomy during early instrumental learning. The results showed that improvisation in instrumental learning can promote autonomy for the student. Improvisation can assign meaning to the acquired content, being able to rearrange musical content and reapply it in new musical situations. Through improvisation students create their own musical discourse.

Professional singers and studio vocal teachers can be assisted to perform and learn modern art songs – in this paper, an Australian art song, „I‟m Nobody‟ from Nigel Butterley‟s cycle, “Frogs”, by applying performance strategies to help resolve challenges encountered in the learning process. The paper aims to give professional singers and studio vocal teachers assistance in learning and performing the work through a performance analysis, a recent approach to writing about vocal performance. The performance analysis draws on some of the strategies submitted from professional singers in a larger study and uses a theoretical framework based on John Rink‟s (2002) principles of performance analysis and Sharon Mabry‟s (2002) ideas for developing confidence in securing pitch in twentieth century music, to discuss my preparation of the song. The main performance challenges performing Butterley‟s song were, for me as a singer, singing the correct pitches, being accurate with the rhythm and g...

Performance Cultural BED INS FOR PEACE
La encamada por la paz de John y Yoko (los medios de la época tradujeron "La cama de la paz") fue un acontecimiento ocurrido durante la guerra de Vietnam, en 1969. John Lennon y Yōko Ono llevaron a cabo 2 encamadas de dos semanas de duración en pro de la paz, en Ámsterdam y en Montreal, las cuales fueron su forma no violenta de protestar contra las guerras y un testeo experimental de una nueva manera de promover la paz. La idea derivó en una ¨sentada¨, en la cual un grupo de manifestantes permanecieron sentados en el frente del establecimiento. Se analiza su importancia como performance cultural y su eficacia.

Performance Cultural BED INS FOR PEACE
La encamada por la paz de John y Yoko (los medios de la época tradujeron "La cama de la paz") fue un acontecimiento ocurrido durante la guerra de Vietnam, en 1969. John Lennon y Yōko Ono llevaron a cabo 2 encamadas de dos semanas de duración en pro de la paz, en Ámsterdam y en Montreal, las cuales fueron su forma no violenta de protestar contra las guerras y un testeo experimental de una nueva manera de promover la paz. La idea derivó en una ¨sentada¨, en la cual un grupo de manifestantes permanecieron sentados en el frente del establecimiento. Se analiza en este trabajo sus implicancias como performance y su eficacia.

In this Essay, I sketch out some First Amendment and Due Process issues that arise from recent efforts by the World Intellectual Property Organization (“WIPO”) to revise U.S. copyright law. My focus will be on the WIPO Treaty on Audiovisual Performances (the “AV Treaty” for short). The AV Treaty expands upon other efforts to make it unlawful to reproduce or use nonliteral material having substantial value to another author; display or perform fragmentary content having substantial value to a record company or movie studio; or make a movie or YouTube video by transforming, recasting, or adapting information having substantial value to a corporation. Under WIPO's leadership, U.S. copyright law is moving to transfer more of the social value associated with copyrighted work to the copyright owner, and away from subsequent authors and consumers.

The Essay describes WIPO and its role in expanding copyright-like rights via the AV Treaty and statutes such as the Digital Millennium Copyright Act (“DMCA”). It analyzes key provisions of the AV Treaty for whether they change U.S. law, or merely globalize its existing rules. Article 5 of it states that independently of any economic rights, and even after the transfer of them, a performer has a right as to his or her fixed, live performances, to object to any distortion, mutilation or other modification of his performances that would be prejudicial to his reputation, taking due account of the nature of audiovisual fixations. Article 6 seems to grant a broad new right to restrict the “communication” of unfixed performances not already broadcast, to which right some exceptions “may” be granted, but do not have to be granted. Article 12 contemplates additional royalties to be paid to performers; irrespective of existing contracts relating to performances embodied in movies, songs, television shows, or video games. Article 15 of the AV Treaty could provide legal reinforcement to efforts to utilize digital rights management and technological protection measures so as to restrict the fair use of performances. Article 16 of the AV Treaty requires parties to provide civil remedies against those who negligently facilitate the availability or distribution of a performance, knowing or having reason to know that the credits or terms of use have been omitted.

The Essay describes the threat posed to the First Amendment by the AV Treaty’s proposed changes to U.S. law. The AV Treaty alters the traditional contours of copyright in the United States by introducing moral rights, and outlawing the making available of performances even without distributing them. The Essay analyzes these First Amendment threats using the rubric provided by Eldred v. Ashcroft. It also outlines the Due Process concerns that arise from the AV Treaty’s vague language and arbitrary distinctions. The statutory damages that may be available under U.S. law if ordinary copyright remedies are extended to performance rights will threaten the Excessive Fines Clause of the Eighth Amendment, as well as Due Process. Moreover, the Essay points out that the Trans-Pacific Partnership Agreement may multiply all of the censorial provisions of the AV Treaty, by stating that criminal copyright infringement shall include instances of related rights infringements that have no direct or indirect motivation of financial gain. The AV Treaty may also interact with proposals such as the Stop Online Piracy Act, which would make it easier for corporations or executive agencies to seize web sites that do not themselves infringe copyrights, but that might facilitate acts of infringement.

World Intellectual Property Organization, WIPO, audiovisual, performances, treaty, WCT, WPPT, phonograms, fixation, unfixed, authorship, copyright, fair use, First Amendment, Due Process, YouTube, Facebook, Pinterest, Twitter, eBay, Amazon.com, Google, Yahoo!, Flava, SOPA, moral rights

In this paper, we intend to demonstrate how a performer could find expressive solutions for the Francisco Mignone’s Sonatina for bassoon solo, based in the way musical text finds itself structured. For the development of this research, concepts of performance-orientated Psychology, Sociology of Art and Musical Analysis where related. As this work presents a rich array of structural components, one can notice the advantages of a non-metronomic execution of the work, where tempo e mood fluctuations follow musical speech criteria.

L’articolo studia comparativamente la forme di mediazione musicale offerta da due trasmissioni televisive riguardanti due eccezionali interpreti del pianoforte – Arturo Benedetti Michelangeli presentato da Roman Vlad e Glenn Gould presentato da Piero Rattalino – andate in onda sulla Raitre di Angelo Guglielmi (1987-1994). Le trasmissioni vengono intese come un sistema di performance stratificate: quella del medium televisione entro il sistema mediale italiano degli anni considerati; quella della rete televisiva RAI nell’ambito del regime di concorrenza con le televisioni commerciali; quella delle trasmissioni televisive in quanto fondata sulle tecniche e sulla performatività del video; quella dei presentatori che si posiziona tra il musicista e il suo pubblico; quella dei musicisti, che usano la musica e la televisione per offrire una presentazione di sé. L’analisi è preparata da una discussione teorico-metodologica che chiarisce l’utilità di uno studio della televisione in quanto mediazione musicale attraverso il ricorso a una impalcatura interdisciplinare che integra la riflessione dei media studies e dei performance studies nella musicologia storica. Le conclusioni riprendono la discussione teorica alla luce dei casi analizzati e considerano la mediazione musicale delle due trasmissioni come sintomo di tensioni mediali e musicali che attraversano un sistema culturale unico e irriducibile, in prospettiva archeologica.

En el siguiente artículo se realiza una reflexión sobre el análisis y la interpretación musical, el análisis de y para la interpretación, así como sobre el denominado análisis performativo. Se valora el papel que estas herramientas pueden aportar al intérprete para su proyección en la ejecución y así superar el uso de la mera intuición en el proceso interpretativo. http://3epoca.sulponticello.com/acerca-del-analisis-performativo-de-la-intuicion-instruida-al-uso-consciente-en-la-interpretacion-musical/#.YFd_5y3FS8U

OF DMA PROJECT A CRITICAL AND PERFORMANCE EDITION OF AGUSTIN BARRIOS’S CUECA: COMPARATIVE ANALYSIS OF FORM, NOTATION, AND PERFORMANCE PRACTICE OF BARRIOS’S WORK TO TRADITIONAL CHILEAN CUECAS FROM THE BEGINNING OF THE TWENTIETH-CENTURY Agustín Barrios’s guitar music has become increasingly popular over the last forty years. After his death, a revival of interest in his compositions began in the 1970s, motivated by a series of publications and recordings of his music by important guitar performers at that time. The most important of these recordings came from the Australian guitar performer John Williams, who was interviewed in 1976 by ABC Television Australia for a film about the Paraguayan composer. The next year, Williams recorded a collection of fifteen works in his album John Williams-Barrios: John Williams Plays the Music of Agustín Barrios Mangoré. After this, the published editions of Barrios’s works have proliferated, many of these transcriptions of the composer’s own recordi...

Flow, an optimal state for study, training and creativity, is often linked with the concept of The Zone, an ideal state for elite performance. Are these two states identical, or how might they differ?  Does it matter, which name we use? See more at www.TheFlow.Zone

In this first of two parts, I’m considering the similarities between Flow and The Zone, as two of the many different manifestations of Hypnotic trance. I’m arguing for very careful use of language, but not for the sake of a more rigorous theoretical discussion. The narrow definitions of some terms are highly contentious, so I’m deliberately accepting broad definitions in order to sidestep those theoretical debates. But I suggest that precise choice of terminology is vital, for utterly practical reasons.

One of the most emphasized elements in descriptions of Pau Casals’ performance style is the
so-called tempo rubato, which was defined by the cellist himself as the continuous ability to “measure”
time, taking it from certain notes and giving it back to others such that the overall duration is kept
intact. Accounts of his manner of both playing and teaching, also refer to a “sense of proportion”
which allegedly governed his use of rubato. Nevertheless, explanations thereof are vague and by no
means clear. Furthermore, some of Casals’ pedagogic principles –enunciation of the first note and the
need for expressive variety– emerge as contradictory when observed from this perspective.
To explore the practical employment of rubato and likewise to disclose the potentially
structural meaning of this sense of proportion in Casals’ performances, empirical analysis of tempo,
beat duration, and agogic divergences between him and the pianist Horszowski will be undertaken,
focusing on their recording of the second movement of Brahms’s Cello Sonata, Op. 99. In this manner,
it will be possible to assess to what extent and in what ways the cellist’s theoretical teachings were
mirrored in his performance, and thus to understand better his particular style of playing.

In this position paper the author presents a perspective on rock drumming and music education. The author is a drummer and university professor who combines an autoethnographic account with consideration of theoretical frameworks including authenticity, flow and the autotelic personality. Through illustrative vignettes of rock drumming and music teaching, the author appeals to the essentially somatic experience of rock drumming. He argues that educators and educational institutions need to allow for rock's inherent, authentic loudness or else risk misrepresenting the music and treating drummers unjustly. This means that the physical movements and resulting high volumes germane to much rock drumming in performance must be accommodated in rehearsals and practice. This article does not seek to privilege rock drumming over other forms, but argues that to include rock drumming authentically in education contexts means to acknowledge and celebrate its essence.

Through the systematic analysis of data from music rehearsals, lessons, and performances, this book develops a new conceptual framework for studying cognitive processes in musical activity. Grounding the Analysis of Cognitive Processes in Music Performance draws uniquely on dominant paradigms from the fields of cognitive science, ethnography, anthropology, psychology, and psycholinguistics to develop an ecologically valid framework for the analysis of cognitive processes during musical activity. By presenting close analysis of activities including instrumental performance on the bassoon, lessons on the guitar, and a group rehearsal, chapters provide new insights into the person/instrument system, the musician's use of informational resources, and the organization of perceptual experience during musical performance. Engaging in musical activity is shown to be a highly dynamic and collaborative process invoking tacit knowledge and coordination as musicians identify targets of focal awareness for themselves, their colleagues, and their students. Written by cognitive scientist and classically trained bassoonist, this specialist text builds on two decades of music performance research, and will be of interest to researchers, academics, and postgraduate students in the fields of cognitive psychology and music psychology, as well as musicology, ethnomusicology, music theory, and performance science.

This paper presents an exploration of the ontological shift from musical materials (i.e. melody, harmony, rhythm, texture, timbre, register) to activities in music performance analysis. A systematic analysis of London Symphony Orchestra masterclasses reveals the basic mechanisms of music making in four main areas: representation, audience, interaction and tacit knowledge. This exploration leads to a broader account of cognition and creativity in music performance, one that bridges inner and outer processes of awareness around domains of coordination in joint activities. In this view, the conceptualizations of musical materials are viewed as targets of focal awareness rather than the basis for cognition in music making. This account, grounded in a rich third-person phenomenological analysis of instructional materials, paves the way for a “meaningful analytics” of orchestral performance.

This work presents an aesthetic analysis that approaches the first movement of the sonata for trumpet and piano by Paul Hindemith; which is one of the most important twentieth century works of the genre for the trumpet repertoire. Thus, the analysis content on this paper is divided in four main subjects; formal structure, melodic and rhythmic structure, harmonic and tonal structure, texture, articulation and dynamics.
The complete piece is a three movement work; although, for the purpose of this work, only the first movement is going to be analyzed in order to provide a better coverage of the material that fulfills it. The approaches achieved hereby do not intend to be an absolute truth, nor the most complete reference, or even the only source that addresses the piece this way, but it should be taken on the way that considers the available sources and resources herein applied.
On the other hand, this paper does not intend to approach strictly the performance or describe appropriated techniques willing the preparation of the piece as a beforehand stage guide. Though, even if it was intended to, it would be an incomplete source due to the fact that it covers only the first movement. Despite that, the content hereby discussed may be also useful for the performance preparation − if applied properly. Otherwise, the points discussed hereby aims better to help clarifying the compositional process from an analytical point of view.

A key word when preparing this sonata is TIME. Each era, each composer, has their own
relationship with time, how they perceive and relate to time, and how they organize events within
time. Does the future influence the present, or the present shape the future? Is the past attached
or detached from the present? These concepts shape human culture and music.

Certain trends in the recital of Western art music composition and performance have embraced indeterminacy through an emerging sonic aesthetic that seeks to redefine the notion of failure. From Charles Ives' adoption of bi-tonality in the early twentieth century to the ‘glitch’ movement in contemporary computer music, this article traces ways in which musicians have sought to embrace the risk for failure in performance with special attention to virtuosic instrumental music (Cascone 2006; Rodgers 2003; Godlovitch 1998; Rosen 2002). Drawing upon the author's recent interdisciplinary practice-led research ‘Woman=Music=Desire’ (2010) and adopting a choreographic approach to the re-appropriation of musical gesture, the author explores how the risk for failure contributes to live musical experience. This discussion is then extended to the process of corporeal acquisition necessary in rehearsing and performing a piece of music which, the author suggests, results in a degree of gestural self-simulation. In this way, the performer's personal authenticity is discussed as a potential locus of failure in which the physical manifestation of emotional expression helps to determine empathetic identification between performer, spectator and instrument (Kivy 1995). Drawing upon Steven Baker's notion of ‘botched taxidermy’ (2000), the author suggests that this empathetic identification creates a space in which the potential risk for failure might be considered intrinsic to conceptions of corporeality in music performance. In this way, live musical experience is posited a site of risk in which the performer, as a desiring subject, emerges as the embodiment of failure. A short excerpt of the case study ‘Woman=Music=Desire’ may be viewed at: http://www.imogene-newland.co.uk/perf_women_md.php

In the 18th century, the violoncello usurped the viol as the preferred solo bass instrument throughout Europe, but the lack of skilled cellists in the British Isles along with a preference for the Italian style resulted in high demand for Italian cellists and composers. Mainland musicians flocked to London, influencing the resident musical style and solidifying the violoncello’s place in the developing musical ensembles.

To further understand this crucial period in the history of the violoncello, this paper investigates the rationale for the violoncello’s triumph over the viol, the factors driving Italians to the Isles, the influence of Frederick, Prince of Wales as an important patron and cellist himself, and the interaction between the British and Italian compositional styles. As quantitative evidence, tables detailing the specific Italian composers found in the Isles, the pieces commissioned by Frederick, and the treatises published at the time have been compiled. This research aims to illuminate the impact of the Italian influence on the violoncello and its repertoire in the special circumstances that the Isles presented.

Canto del Cavallero. Música para vihuela (Glossa CD 920101. 1992) - José Miguel Moreno, vihuela
Luys Venegas de Henestrosa: 1. Cinco Diferencias sobre Vacas (Antonio de Cabezón?) / 2. Pues no me queréis hablar (Anon.) /
3. Cinco Diferencias sobre Conde Claros (Antonio de Cabezón?) / 4. Pavana con su Glosa (Antonio de Cabezón)
Miguel de Fuenllana: 5. Glosa sobre Tan que vivray (Sermisy - Fuenllana) / 6. Una fantasía de redobles (Fuenllana) / 7. Con qué la lavaré (Vásquez - Fuenllana) / 8. De Antequera sale el Moro (Morales - Fuenllana) / 9. Morenica dame un beso (Vásquez - Fuenllana)
Diego Pisador: 10. Dezilde al cavallero que / 11. Madona mala vostra / 12. La cortesía / 13. Pavana muy llana para tañer
Antonio de Cabezón: 14. Diferencias sobre el canto de La Dama le demanda / 15. Diferencias sobre el Canto del Cavallero
Enríquez de Valderrábano: 16. Soneto XXII (Lo que queda es lo seguro) / 17. Soneto XXVII / 18. Soneto VIII / 19. Canción VII (A mi sufle)
Luys Milán: 20. Fantasía VIII / 21. Fantasía XII / 22. Fantasía I / 23. Quie Amores Ten (villancico) / 24. Falai Miña Amor (villancico) / 25. Fantasía XI / 26. Pavana IV / 27. Pavana V
Manuscrito de Simancas: 28. Diferencias sobre Vacas (Anon.)

Canción del Emperador. Música para vihuela (Glossa CD 920108. 1998) - José Miguel Moreno, vihuela
1. Esteban Daça: Fantasía 22 de passos largos / 2. Diego Ortiz: Recercada terçera sobre la Bergamasca / 3. Diego Ortiz: Recercada segunda sobre el passamezzo moderno / 4. Luys Maymón: Diferencias de bacas / 5. Esteban Daça: Fantasía 21 de passos largos / 6. Alonso Mudarra: Diferencias de Conde Claros / 7. Anonymous: Al alva venid / 8. Luys de Narváez: Diferencias de Conde Claros / 9. Luys de Narváez: Con qué la lavaré / 10. Vásquez - Fuenllana: Vos me matastes / 11. Diego Pisador: Si la noche haze escura / 12. Sermisy - Fuenllana: Glosa sobre Tant que vivray / 13. Diego Ortiz: Recercada quinta sobre el passamezzo antiguo / 14. Diego Ortiz: Recercada settima sobre la Romanesca / 15. Francisco Páez: Diferencias de bacas / 16-17 Josquin - Narváez: Mille regretz - Canción del Emperador

In connection with the interpretation of Notre Dame proposed by Davide Daolmi in this journal, the article analyzes the reasons that allowed the modern invention of polyphonic performance of 12th and 13th centuries, tracing experiments promoted during the early 20th century and strengthened in the early music revival in the late Seventies. The musical choices appear as expressions of a cultural mainstream more than documentary evidence: at the beginning the musicological reasons are references for the first performances (with preconceptions about Middle Age), then the vocal interpretation of the second Postwar became extraneous to the historical research (moreover lacking of any new contribution) and found aesthetic alibis in different environment (social, politic, market).

“What is the role of the performer in musical communication? Discuss by reference to the following two quotes, stating whether you agree with them or not: 1) 'the performer, for all his intolerable arrogance, is totally unnecessary except as his interpretations make the music understandable to an audience unfortunate enough not to be able to read it in print." (Schoenberg, in D. Newlin, Schoenberg Remembered: Diaries and Recollections (1938-76), New York: Pendragon Press, 1980, p. 164). 2) "The conductor must be humble before the composer; he [must] never interpose himself between the music and the
audience; all his efforts, however strenuous or glamorous, [must] be made in the service of the composer's meaning." (Leonard Bernstein, in The Joy of Music, London: Weidenfeld
and Nicolson, 1959, p. 56).”

Music and song are both important influences on, and themes in, the poetry of Thomas Kinsella. His poetry also features several individuals associated with music, none more frequently than his close friend, the composer Seán Ó Riada, a central figure in the revival in popularity of Irish traditional music since the 1950s. This paper charts some significant developments in Kinsella's work from the late 1950s, and indeed, intriguing parallels, and shared emphases, apparent in the comments and work of both Kinsella and Ó Riada. For Kinsella, his experience of traditional song - described in his poem 'The Shoals Returning' - preceded the incorporation of Gaelic literature into his poetry while his recurring emphasis on the audience's role in the act of communication echoes his own identification of a central characteristic of the performance of traditional song, or sean-nós, in Irish.

This paper presents the outcomes of a three-year doctoral investigation, in which the author examines stylistic and aesthetic trends in the performances of Granados, with the aim of producing a detailed and painstaking examination of the pianistic tradition inherited by the Spanish composer. The differing and equally convincing pianistic styles of Granados’ followers call into question the validity of only one possible “authoritative” interpretation when approaching this particular performance tradition. The thorough analysis of Valses poéticos op.43 written by Granados allowed a closer look at performance practices of Granados and the musical tastes of his time. This early work is especially relevant due to the significant number of its original sources.  This investigation has unearthed a treasure trove of new and detailed information about this wonderful pianistic legacy left by Granados, and the Catalan School of Piano Players. Furthermore, it raises questions about current performance practices and the stylistic validity that pianists might be able to give in their performances of Granados’ works through a combined study of his manuscripts, pedagogical methods, recordings and performance tradition.

II BACKGROUND:


A. Exploring life experiences of both solo and orchestral performers;

B. Framing the theoretical structure of music performance anxiety;

C. Describing the phenomenon of music performance anxiety, rigorously evaluating it as a fundamental measure in its inquiry and having a deeper insight into it in the end;

D. Looking into the remedies and their effectiveness for sufferers of music performance anxiety.

Recent years have witnessed an increasing scholarly interest in the phenomenon of the music video, even to such an extent that some of the recent works point to a paradigmatic ‘music video turn’ that could be tentatively defined as research into music video’s digital production, circulation platforms, and distribution channels, as well as its new media formations. Drawing on the latest research in audiovisual studies and putting the contributions of this special issue, entitled "Music video in Transformation" in dialogue with each other (Steven Shaviro, Carol Vernallis, Lisa Perrott, Tomáš Jirsa, Mathias Korsgaard, Anders Liljedahl), this introductory essay argues that music video has become a highly popular laboratory of digital innovations and new media experiments reaching an ever-growing audience and creating its own internet dispositif in the form of YouTube. It also provides several useful concepts for the research of three dominant music video areas: production, reception, and distribution.

This article describes some study strategies for the performance of the Sonata For Trumpet
and Piano by a Brazilian composer Osvaldo Lacerda. Presents a brief bibliographic sketch
of the composer and comments about aspects related to the study and technique trumpet
development.

In diesem Beitrag werden die fünf bisher veröffentlichten Tonaufnahmen von György Kurtágs Kafka-Fragmenten Op. 24 (1987) für Sopran und Violine untersucht und verglichen. Ich berücksichtige dabei sowohl Unterschiede in der musikalischen Gestaltung, die Interaktion zwischen Violine und Stimme, als auch die unterschiedlichen Weisen, wie die einzelnen Fragmente in den Aufnahmen aneinandergereiht – verbunden bzw. getrennt – werden. Im Zusammenspiel von Partitur- und Höranalyse stelle ich fest, dass die Aufnahmen der Kafka-Fragmente jenseits einer Aufführungsdokumentation als eigenständige Artefakte zu betrachten sind, die verschiedene Facetten zeigen, wie eine zweidimensionale Partitur in Klang umgesetzt werden kann.

This article examines the five existing commercial recordings of György Kurtág’s Kafka-Fragmente Op. 24 (1987) for soprano and violin. I will consider their differences between musical shaping, text and music relationship, interaction between the violinist and the soprano, and the ways in which the subsequent fragments are connected (or disconnected) in the recordings. By combining music analysis with close listening, I propose the recordings of Kafka-Fragmente stand out as independent artefacts, thus showing as an even more versatile view how a two-dimensional score can be realized in sounds.

Esta pesquisa tem como vontade primeira refletir acerca do trabalho do performador musical em performance, o que gera um mapeamento inicial em torno de algumas palavras, suas camadas e seus campos de atuação. Tomando o corpo como elemento articulador da pesquisa bibliográfica proposta, o trabalho irá observar, num primeiro momento, como a experiência viva do músico performador com o próprio fazer podem se relacionar com sua pesquisa acadêmica e artística. Num segundo momento, estudará a sociedade disciplinar produtora dos corpos dóceis que se põe a investir (FOUCAULT, 2014) o corpo do músico e seus fazeres em formação e em performação através de um adestramento técnico-mecânico fundamentado na abstração dos processos artísticos operados em música e, especificamente aqui, em técnica pianística. A partir disso, num terceiro momento, se aproxima de possíveis caminhos desviantes à mentalidade disciplinar, indo em direção a uma vivificação do corpo do músico atuante em Ato através da abordagem somática proposta pela Técnica Klauss Vianna de escuta do corpo (BITTAR, 2012).

In 1978, Siouxsie and the Banshees declared 'We don't see ourselves in the same context as other rock n' roll bands'. A decade later, and in the stark aftermath of a devastating storm, the band retreated to a 17th-century mansion house in the deracinated Sussex countryside to write their ninth studio album, Peepshow. Here, the band absorbed the bygone, rural atmosphere and its inspirational mise en scéne, thus framing the record cinematically, as Siouxsie Sioux recalled, 'It was as if we were doing the whole thing on the set of The Wicker Man.'

Samantha Bennett looks at how Siouxsie and the Banshees' Peepshow is better understood in the context of film and film music (as opposed to popular music studies or, indeed, the works of other rock n' roll bands). Drawing upon more than one hundred films and film scores, this book focuses on Peepshow's deeply embedded historical and aesthetic (para)cinematic influences: How is each track a reflection of genre film? Who are the various featured protagonists? And how does Peepshow's diverse orchestration, complex musical forms, atypical narratives and evocative soundscapes reveal an inherently cinematic record? Ultimately, Peepshow can be read as a soundtrack to all the films Siouxsie and the Banshees ever saw. Or perhaps it was the soundtrack to the greatest film they never made.