scholarly journals Staging Scores: Musical composition as strategy and structure of performance

2021 ◽  
Author(s):  
Michael David Pinchbeck ◽  
Kevin Egan
Keyword(s):  
Classical Music ◽  
Musical Composition ◽  
Conceptual Frameworks ◽  
Performance Practices ◽  
Strategy And Structure ◽  
Contemporary Performance ◽  
Structural Perspective

In this article, we deploy overlapping conceptual frameworks to address contemporary performance work we were involved in devising, which explored the representation and utilisation of classical music from a theatrical and structural perspective. It combines Postdramatic Theatre (Lehmann, 2006), Composed Theatre (Rebstock and Roesner, 2012) and Score Theatre (Spagnolo, 2017) in order to expose how our performance practices are invested in the language, etiquettes, and compositional principles of classical music.

Orkestra Rumpilezz

2021 ◽  
pp. 54-82
Author(s):  
Juan Diego Díaz
Keyword(s):  
Classical Music ◽  
Big Band ◽  
Physical Movement ◽  
Performance Practices ◽  
Racial Democracy ◽  
First Case ◽  
Band Mixing ◽  
Visual Symbols

Chapter 3 presents the book’s first case study, Orkestra Rumpilezz, a big band mixing jazz with emblematic Afro-Bahian genres such as Candomblé, carnival music (ijexá and samba reggae), samba de roda, and capoeira. It opens with a discussion of composer-director Letieres Leite’s trajectory in Brazil and Europe and his views on Africa and the liminal status of jazz in Bahia, as an African diasporic genre and, simultaneously, US America’s classical music. This is followed by an analysis of how the orchestra spotlights percussion and percussionists in its performances and links them to the polemic notion of racial democracy in Brazil. A number of performance practices (layout of musicians on stage, colors and styles of costumes, visual symbols, instrumentation, physical movement, speech between pieces) are connected with the tropes of embodiment, spirituality, and spontaneity.

scholarly journals Time-Based Raga Recommendation and Information Retrieval of Musical Patterns in Indian Classical Music Using Neural Networks

2017 ◽  
Vol 6 (1) ◽  
pp. 33 ◽  
Author(s):  
Samarjit Roy ◽  
Sudipta Chakrabarty ◽  
Debashis De
Keyword(s):  
Neural Networks ◽  
Pattern Matching ◽  
Classical Music ◽  
Musical Composition ◽  
Accuracy Level ◽  
History Of ◽  
Indian Classical Music ◽  
Musical Patterns ◽  
The Times ◽  
Confusion Matrices

In Indian Classical Music (ICM) perspective, Raga is formed from the different and correct combination of notes. If it is observed the history of Indian Classical Raga in ICM, the playing or serving each of the ragas has some unique sessions. The procedure is to suggest the classifications of playing a raga has been attempted to display by explaining unique musical features and pattern matching. This contribution has been represented how music structures can be advanced through a more conceptual demonstration and consent to unambiguously describe process of computational modeling of Musicology which signify the challenge on complete musical composition from the elementary vocal objects of ICM usage using Neural Networks. In Neural network the samples of various ragas have been taken as input and classify them according to the times of the performance. Over 90% accuracy level has achieved using entire Confusion Matrices and Error Histogram performance evaluation technique.

Mixing with Mozart: Aesthetics and Tradition in Helmut Lachenmann's Accanto

2011 ◽  
Vol 8 (1) ◽  
pp. 71-97
Author(s):  
ALASTAIR WILLIAMS
Keyword(s):  
Classical Music ◽  
Art Music ◽  
Performance Practices ◽  
Meeting Point ◽  
Western Art ◽  
Western Art Music ◽  
Compositional Practice ◽  
Historical Reflection ◽  
German Composer ◽  
Clarinet Concerto

AbstractAccanto (1975–6), for clarinettist and orchestra, constitutes a turn towards historical reflection in the work of the distinguished German composer Helmut Lachenmann, providing a meeting point for the practitioner and the theorist. This article examines how Accanto's dialogue with Mozart's Clarinet Concerto relates to topics such as recording conventions, performance practices, and compositional trends, particularly in the 1970s. It also demonstrates how Lachenmann's conception of musical material is rooted in an understanding of the Western art music tradition, especially with regard to the issue of the ‘language-character’ of music. In doing so, it investigates Lachenmann's aesthetics of beauty in connection with performance practices, sociological models of musical subjectivity, and Adorno's understanding of tradition. In general, the article argues that compositional practice in Accanto is shaped in response to the situation of classical music, especially in the 1970s.

scholarly journals Enacting Law

Lateral ◽  
2021 ◽  
Vol 10 (1) ◽  
Author(s):  
Steff Nellis
Keyword(s):  
Twentieth Century ◽  
Legal System ◽  
Performing Arts ◽  
First Century ◽  
Historical Research ◽  
Public Knowledge ◽  
Performance Practices ◽  
Contemporary Performance ◽  
Twenty First Century

Although historical research into twentieth-century theatrical tribunals is widespread, the recurring theme of justice in contemporary performance practices remains largely unexplored. However, an increasing number of twenty-first-century artists have begun relying on structures of the court. By creating theatrical tribunals, these artists try to create a space for an alternative jurisdiction. However, a clear typology of this tribunal genre in the contemporary performing arts is still lacking. This article therefore aims to characterize theatrical tribunals. In the first section, I describe the setting of the courtroom as a theatrical place in which law gets enacted or performed. Following several scholars that already stated the important spectacular aspects of the legal system, I discuss the dramaturgy of the courtroom as a specific dramatic place with its own scenography, script, and dramatis personae. Next, by analyzing the dramaturgy of the courtroom, I distinguish two categories within the tribunal genre: (1) re-enactments of preeminent lawsuits that heavily rely on twentieth-century documentary practices and (2) performative pre-enactments of futuristic trials that have not yet been held or cannot be held because of systemic shortcomings. Finally I examine how contemporary theatrical tribunals could contribute to the enlargement of public knowledge on historical and contemporary examples of injustice, and whether they could obtain effective changes in our societies.

scholarly journals Archivo vivo en las prácticas performáticas

2020 ◽  
Vol 11 (18) ◽  
pp. 58-78
Author(s):  
Claudia Cabrera
Keyword(s):  
Creative Activity ◽  
Performance Practices ◽  
Alternative Structures ◽  
Performance Artists ◽  
Contemporary Performance

En este ensayo se reflexiona sobre el sentido de lo vivo del archivo en prácticas performáticas contemporáneas. Para tal propósito, se abordan las problemáticas teóricas de documentar el acto vivo en relación con la actividad creadora de artistas del performance, abordando el trabajo del performer brasileño Paulo Nazareth, entre otros. Se plantea la necesidad de colocarse más allá del pensamiento lineal y binario, a fin de articular lo viviente con lo no viviente en otra estructura donde el movimiento sea a la vez origen y sentido del acontecimiento.Live archive in performative practicesAbstractThis essay reflects on what the archive may have of “liveness” in contemporary performance practices. The author discusses the theoretical problems of documenting the “live act” in relation to the creative activity of performance artists, focusing on the work of the Brazilian performer Paulo Nazareth, among others. The author poses the need to place oneself beyond linear and binary thinking, in order to articulate the living with the nonliving in alternative structures where movement is both the origin and the meaning of the event.Recibido: 05 de marzo de 2020Aceptado: 21 de agosto de 2020

Soyica Diggs Colbert, Douglas A. Jones, Jr., and Shane Vogel, eds. Race and Performance after Repetition.

Modern Drama ◽  
2021 ◽  
Vol 64 (4) ◽  
pp. 503-506
Author(s):  
Takeo Rivera
Keyword(s):  
Performance Studies ◽  
Conceptual Frameworks ◽  
Contemporary Performance ◽  
And Performance

Race and Performance after Repetition is a vital showcase of contemporary performance studies scholarship that reconsiders the intersection of performance, temporality, and racialization across a wide variety of contexts and arguments. The book articulates several new conceptual frameworks, such as dark reparation, parabolic performance, and dedouble.

Cracking God’s roof: Manifestation and adaptation on the intuitive nature of creating electronic music with tablet computers

2020 ◽  
Vol 18 (1) ◽  
pp. 73-89 ◽  
Author(s):  
Willard G. Van De Bogart
Keyword(s):  
Electronic Music ◽  
Classical Music ◽  
Musical Instrument ◽  
Musical Composition ◽  
Tablet Computer ◽  
Tablet Computers ◽  
Art Form ◽  
Live Music ◽  
New Ideas ◽  
The Way

Electronic music is advancing not only in the way it is being used in performance but also in the technological sense, due to software developers advancing the ability of the synthesizer to enable the composer to create newer sounds. The introduction of the amino acid and protein synthesizers from MIT is one such example, along with sampling sounds from interstellar bodies through the process of sonification in order to create presets as additional source material for the composer’s palette. The creative process used in creating electronic music on a tablet computer introduces a new musical instrument to be used in live music performances. The fluidity and immediacy of how electronic sounds can be created with tablet computer synthesizers affords the composer to have a new behavioural sense of using them as a musical instrument that can be played intuitively. Exploring this new interface of musical composition is a subject this article will address as well as the psychological aspects pertaining to how an audience can relate to electronic music as an emerging art form removed from the classical music tradition. It will also discuss how the composer of electronic music can affect the listener’s ability to envision new conceptual landscapes, leading to experiencing new ideas and subjective fields of visionary understandings. The composer’s ability to use conceptual models, which influence the way sounds are made and how those sounds influence the listener’s experience, is an important focus of this article.

Maelzel, the Metronome, and the Modern Mechanics of Musical Time

2021 ◽  
pp. 302-340
Author(s):  
Alexander E. Bonus
Keyword(s):  
Nineteenth Century ◽  
Reception History ◽  
Professional Musicians ◽  
Performance Practices ◽  
Musical Time ◽  
Performance Culture ◽  
Industrial Age ◽  
History Of ◽  
Contemporary Performance ◽  
And Performance

Johann Nepomuk Maelzel, despite being most recognized today for inventing the clockwork metronome, was one of the most famous automata showmen of the nineteenth century. This chapter begins by offering a reception history of Maelzel, the metronome, and his automata, and exploring the cultural significances underlying his clockwork creations across the Industrial Age. As numerous accounts maintain, Maelzel’s automata projected decidedly inhuman performance practices. His automata emblematized a machine culture that ran in direct opposition to the subjective ‘artistry’ championed by many skilled performers and composers over the century. This study subsequently addresses the discord between Maelzel’s age and ours regarding the values of musical time and performance practices: those metronomic qualities largely rejected by Maelzel’s musical contemporaries are often vehemently endorsed today by many professional musicians and educators who apply mechanically precise tempos and rhythms to all musical repertoires. This history ultimately confronts the veiled ‘metronome mentality’ found throughout contemporary performance culture, which neglects many musical-temporal aesthetics and rhythmic qualities from a pre-industrial, pre-metronomic past.

Unfixing Epic

2018 ◽  
pp. 262-274 ◽  
Author(s):  
Stephe Harrop
Keyword(s):  
Significant Degree ◽  
Spoken Word ◽  
Performing Artists ◽  
Performance Practices ◽  
Spoken Word Poetry ◽  
Devised Theatre ◽  
High Profile ◽  
The Creation ◽  
Contemporary Performance

This chapter considers what a putative oral Homer means to contemporary performing artists. It is argued that (especially within devised theatre, performance storytelling, and spoken-word poetry) an imagined oral Homer can serve as inspiration for the creation of deliberately unpredictable ‘unfixed’ performances, which strive to generate present-day equivalents for the flexibility and spontaneity attributed to the earliest, preliterary, performances of epic. This chapter uses the terminology of ‘fixed’ and ‘unfixed’ to analyse such performances, with different works, and even different iterations of a single work, displaying ‘fixed’ or ‘unfixed’ characteristics to varying degrees, and at different moments. An in-depth case study examines Kate Tempest’s Brand New Ancients as a high-profile example of a work containing a significant degree of interplay between ‘fixed’ and ‘unfixed’ elements. The chapter concludes by highlighting challenging new questions concerning creative interactions between contemporary performance practices and myths of Homeric orality.

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