scholarly journals Performance as a Research Instrument: An Example from the Western European Baroque

PROMUSIKA ◽  
2017 ◽  
Vol 5 (2) ◽  
pp. 68-76
Author(s):  
Edward C. Van Ness
Keyword(s):  
Chamber Music ◽  
Performing Arts ◽  
Classical Music ◽  
Music Festival ◽  
Research Instrument ◽  
Music Department ◽  
The Arts ◽  
Western European ◽  
And Performance

In this paper, I discuss performance as a research instrument in Western European classical music.  I describe considerations and process leading to my performance of Corelli Op. 5 no. 12 "Follia" in the Indonesian Chamber Music Festival 2011 at ISI Yogyakarta Concert Hall.  Corelli's Follia (La Folia), as it is commonly known, is a canonized work which opens many professional violinist's recital programs. Its real identity has become marginalized and transformed through rather blind reliance on 19th-century editions by violinists who wished to adopt it to "mainline" romantic concepts of style and performance. This process of adaption has been characteristic of European classical music for centuries. Works of earlier times were reshaped both in performance and in print editions to fit prevailing musical tastes.  I chose to approximate an appropriate ensemble with modern instruments. Using a constructivist approach, I employed aspects of Baroque performance practice, especially in ornamentation and embellishment, along with manipulation of rhythmic elements and in a more spontaneous, and consciously contemporary manner.  I take the opportunity to contribute to productive dialogue regarding the role of performance at Music Department, the Faculty of Performing Arts, Yogyakarta Indonesian Institute of the Arts, and qualitative research. I seek to open up our discourse to a wider understanding beyond the persistent positivist continues to approach the academic world in Indonesia as the only platform for research theory and method.  I suggest that this performance, like any other, is an informed adventure across time and space and that ethnomusicology and music are no longer separate worlds.

Mitterer, Wolfgang (1958--)

2018 ◽  
Author(s):  
Aaron Cassidy
Keyword(s):  
Chamber Music ◽  
Performing Arts ◽  
Electroacoustic Music ◽  
Live Electronics ◽  
Performance Events ◽  
And Performance ◽  
Orchestra Music ◽  
And Function ◽  
Granular Layers ◽  
The University

Wolfgang Mitterer (1958--) is an Austrian composer and organist noted for his work with live electronics and improvisation. Born on 6 June, 1958 in Lienz, East Tyrol, Mitterer studied organ and composition at the University of Music and the Performing Arts Vienna, followed by a year-long residency at the studio for electroacoustic music (EMS) in Stockholm. An exceptionally prolific composer, Mitterer’s output spans a staggeringly broad range of approaches to music making, including works for tape, chamber music of various formations, experimental pop songs (Sopop), works for large orchestra, music for theatre and opera, music for film, and sprawling site-specific installations and performance events (turmbau zu babel, for example, is scored for 4,200 singers, 22 drums, 48 brass players, and 8-channel tape). His works list includes over 200 entries and demonstrates a particularly catholic, pluralistic, non-dogmatic approach to instrumentation, duration, venue, scale, and function. Despite this diversity, Mitterer’s work maintains several important central tendencies: stylistically, the music is often characterized by layers of crackles, twitches, clicks, and pops (both electronic and acoustic), with a rustling, flickering, chirping, gestural energy. These more fragmented, granular layers are quite often combined with gradual, elongated, atmospheric, and lyrical material, though generally a sense of instability and unpredictability remains.

Athletes and the Arts — The Role of Sports Medicine in the Performing Arts

2013 ◽  
Vol 12 (6) ◽  
pp. 397-403 ◽  
Author(s):  
Randall W. Dick ◽  
Jacqueline R. Berning ◽  
William Dawson ◽  
Richard D. Ginsburg ◽  
Clay Miller ◽  
...  
Keyword(s):  
Performing Arts ◽  
Sports Medicine ◽  
The Arts

scholarly journals Presença e morte: o carácter efémero das artes do corpo.

2021 ◽  
Author(s):  
Pedro Bessa ◽  
Mariana Assunção Quintes dos Santos
Keyword(s):  
Performance Art ◽  
Performing Arts ◽  
Fine Arts ◽  
Classical System ◽  
Physical Object ◽  
The Body ◽  
Contemporary Dance ◽  
The Arts ◽  
Technical Reproducibility ◽  
And Performance

This paper aims to reflect on a hypothetical threshold-space between contemporary dance and performance art, questioning at the same time the prevalence of too strict a boundary between them. To this end, a range of works involving hybridization of artistic languages ​​were selected and analyzed, from Signals (1970) by American dancer and choreographer Merce Cunningham to Café Müller (1978) by German choreographer Pina Bausch. Both dance and performance art are ephemeral arts or, according to the classical system, arts of time as opposed to the arts of space - painting, sculpture and architecture. They have also been called allographic arts, performative arts or, perhaps more specifically, arts of the body (Ribeiro, 1997). Unlike traditional fine arts, which materialize in a physical object other than the body, unlike video-art and cinema, arts without originals, mediated by the process of “technical reproducibility” (Benjamin, 1992), performative arts require the presence of a human body - and the duration of the present - as a fundamental instrument for their realization. In that sense, the paper also focuses on the ephemerality factor associated with dance and performing arts, and the consequent devaluation these have suffered vis-à-vis other artistic practices, considered to be academic and socially more significant.

African Women in Music, Theater, and Performance

2021 ◽  
Author(s):  
Adedayo L. Abah
Keyword(s):  
Specific Region ◽  
African Women ◽  
Music Theater ◽  
Musical Performances ◽  
The Arts ◽  
Political Protests ◽  
Women In Music ◽  
The World ◽  
And Performance

While women in certain regions of Africa have always enjoyed relatively equal access to view performances and perform publicly, many have not always enjoyed the same access to public performances of their craft. The role of women in music, theater, and performance in Africa has been diminished often by its demotion to the lyrical performances of women to enliven life’s transitions, from celebration of births to rites-of-passage ceremonies, marriages, and funerals. However, African women have always instigated social and political protests through songs and musical performances, imitation, and meaning-charged lyrics. The record and achievements of women as individuals or band-associated public performers were available mostly from the middle of the 20th century. Many African women have broken barriers in the categories of music, theater, and performance through exceptional demonstration of their crafts and talents. Some of them, like Sonah Jobarteh and Jalil Baccar, mostly wielded influence within a specific region of the continent, while some, like Miriam Makeba and Cesária Évora, were well known throughout the continent and globally. These African women compelled the continent, and sometimes the world, to stop and ponder on their talents in the arts of music, theater, and performance.

Queer exceptions

2019 ◽  
Author(s):  
Stephen Greer
Keyword(s):  
Western Europe ◽  
Cultural Significance ◽  
Solo Performance ◽  
Autobiographical Performance ◽  
The Arts ◽  
And Performance ◽  
The Uk ◽  
The Stranger ◽  
The Relationship

This book is a study of solo performance in the UK and western Europe since the turn of millennium that explores the contentious relationship between identity, individuality and the demands of neoliberalism. With case studies drawn from across theatre, cabaret, comedy and live art – and featuring artists, playwrights and performers as varied as La Ribot, David Hoyle, Neil Bartlett, Bridget Christie and Tanja Ostojić – it provides an essential account of the diverse practices which characterize contemporary solo performance, and their significance to contemporary debates concerning subjectivity, equality and social participation. Beginning in a study of the arts festivals which characterize the economies in which solo performance is made, each chapter animates a different cultural trope – including the martyr, the killjoy, the misfit and the stranger – to explore the significance of ‘exceptional’ subjects whose uncertain social status challenges assumed notions of communal sociability. These figures invite us to re-examine theatre’s attachment to singular lives and experiences, as well as the evolving role of autobiographical performance and the explicit body in negotiating the relationship between the personal and the political. Informed by the work of scholars including Sara Ahmed, Zygmunt Bauman and Giorgio Agamben, this interdisciplinary text offers an incisive analysis of the cultural significance of solo performance for students and scholars across the fields of theatre and performance studies, sociology, gender studies and political philosophy.

Grant Park Music Festival and Music in Chicago's “Front Yard”

2020 ◽  
Vol 14 (1) ◽  
pp. 10-32
Author(s):  
KATHERINE BRUCHER
Keyword(s):  
Classical Music ◽  
Works Progress Administration ◽  
Musical Life ◽  
Music Festivals ◽  
Music Festival ◽  
American Federation ◽  
The Great Depression ◽  
The Arts ◽  
The City

AbstractChicago's Grant Park Music Festival, a free classical music series, provides a case study for exploring how music festivals contribute to the musical life of cities. Each summer, the Grant Park Music Festival Orchestra and Choir perform dozens of free performances at the Jay Pritzker Pavilion in Millennium Park and in residential neighborhoods. In 1935, James C. Petrillo, head of the Chicago local of the American Federation of Musicians, initiated the festival, then called Grant Park Concerts, to employ musicians during the Great Depression with funds from the federal Works Progress Administration. Changes in the city's cultural policies, its demographics, financial support, and expectations for how the festival serves the community have impacted how it programs its season and seeks audiences. Based on archival research, this article focuses on how the festival as a civic institution creates a listening public invested in particular narratives of Chicago as a dynamic city through programming music in public spaces. Looking at Grant Park Music Festival from contemporary and historical angles provides insight into how changes in aesthetic and social values, funding for the arts, and urban planning shape the way a festival engages with the city.

scholarly journals An Interview with Dr. Bernie Warren, Clown Doctor and Founde of Fools for Health

2005 ◽  
Vol 2 (3) ◽  
Author(s):  
Bernie Warren ◽  
Raymond Chodzinski
Keyword(s):  
Performing Arts ◽  
Well Being ◽  
Child Life ◽  
University Teaching ◽  
Full Professor ◽  
Disabled Children ◽  
The Arts ◽  
Life Threatening ◽  
The University

Bernie Warren Ph.D. (A .K .A . Dr . Haven't-AClue) is a full professor at the University of Windsor. His expertise and research spans a vast array of interests that relate to wellness, well-being, and the role of the arts in healthcare and education and are reflected in many articles, books, speaking engagements and participation in international symposiums and conferences. In 2001, he was awarded the Alumni Award for Distinguished contributions to University Teaching. His research and practice brings together his training and interest in Eastern martial arts and healing with his Western training in psychology and performing arts. He has worked with severely disabled children, seniors and people with life threatening medical conditions. His work with therapeutic clowns, "Clown-doctors" as he prefers, has been acclaimed as pioneering work in the field of applied medicine and child life specialties. In this interview, I discuss specifically with Dr. Warren about the role of humour and the work of clown-doctors.

scholarly journals Comparison Study for Art Centers in Greater Cairo To Achieve Heritage conservation

2020 ◽  
Vol 2 (2) ◽  
pp. 254
Author(s):  
Fatma Ahmed ◽  
Abanoub Fayez ◽  
Ahmad Haron
Keyword(s):  
Performing Arts ◽  
Fine Arts ◽  
Vital Role ◽  
Community Centers ◽  
Current Form ◽  
The Arts ◽  
Intellectual Abilities ◽  
Heritage Buildings ◽  
Greater Cairo

Art centers Art centers play an important role in building social connections and increasing the artistic sense of community in addition to enhancing peoples' creative skills and developing their analytical and intellectual abilities which lead to success. The vital role of art centers is developing the community traditional culture as well as calling for reviving the spirit of authenticity and preservation of cultural heritage.In Egypt Art Centers are worked asfunctional community centers that focus on supporting arts practice and facilities as art galleries act as museums that reflect many aspects of people’s lives.Educational facilities, workshops, a performing arts theatre, a fine arts library, music library, and dance and drawing studios supporting local communities and cover part of the gap between culture needs and available building and facilities in the city.Cairo’s role as the cultural capital of one of oldest civilizations in the world is reflected in the arts and architecture of all periods. Therefore, the art centers role in Greater Cairo varies to preserve and teach the traditional and new arts. Despite the emergence of museums in Egypt in the early nineteenth century, the establishment of art centers in Egypt in its current form began in the late fifties in the twentieth century. It appeared as new buildings or the reuse of heritage buildings. Its function is to revive and teach different types of art different periods, achieve conservation of identity, Cultural heritage and creating a new artistic value.This study will highlight the complex value of art centers buildings in Cairo with a comparison between its design, roles and methods of development. FromArchitects,Academicians, designers,andstudents point views toward sitting up a methodology for the design and development of arts centers in Greater Cairo.

Native American Expressive Arts

2016 ◽  
Author(s):  
Anya Montiel
Keyword(s):  
Native American ◽  
Contemporary Art ◽  
The United States ◽  
Late Nineteenth Century ◽  
The Arts ◽  
Native Art ◽  
Late Nineteenth ◽  
And Performance ◽  
The Impact

Opening with the life and art of Dakota artist Oscar Howe, the chapter discusses the “Indianness” of Native art and the frustrations experienced by Native artists over the years surrounding their creative expressions. The chapter is arranged chronologically, opening in the late nineteenth century and highlighting sample exhibitions, artworks, and artists from the United States in order to illustrate broad conceptual issues. These include Indian authenticity and identity, differences between fine art and “crafts,” traditional versus contemporary art forms, the role of the arts in economic development, and the impact of federal power on the arts. The chapter draws examples from painting, sculpture, photography, video, and performance art. It concludes with a proposal for understanding Native art inspired by the words of Santa Clara artist Rose Simpson.

scholarly journals Esittävän taiteen vapaa kenttä osana muuttuvaa kolmatta sektoria

2017 ◽  
pp. 124
Author(s):  
Anu Oinaala ◽  
Vilja Ruokolainen
Keyword(s):  
Case Studies ◽  
Performing Arts ◽  
Third Sector ◽  
Non Profit ◽  
Organizational Membership ◽  
The Third ◽  
The Arts ◽  
Independent Sector ◽  
The Third Sector ◽  
And Performance

Independent Performing Arts Sector as a Part of the Third Sector inTransition This article examines the Finnish independent performing arts sector as a part of the so-called third (non-profit and voluntary) sector. The independent performing arts sector is analyzed from the viewpoint of the changing nature of the new third sector as identified in recent research. The aim of the article is to describe the agents in the manifold independent sector of performing arts and to analyze what kind of forms the elements important to the so-called new third sector, organizational membership and paid labour, take in the independent performing arts. From the genres of performing arts, theatre, dance, circus and performance art are investigated. There are two sets of data. Quantitative data consists of the number of productions performed in the Helsinki region during 2009–2011 by the independent performing arts sector and the number of the artists participating in those productions. The qualitative data includes case studies from 16 independent performing arts groups from around Finland. In addition to case studies, research methods include typification and network analysis. This article is concerned especially with four identified transitions in the third sector: from volunteerism to professionalism, from institutions to informal groups, from influencing to performing services and from traditional membership to different forms of participation. We conclude that the independent sector in the performing arts consists of a variety of forms of organization, and the volume of productions by groups that are not formally organized is significant. Membership has several different meanings, and they often differ from the traditional notion of the concept. In the independent sector of the arts different forms of employment and labour are mixed. The independent performing arts sector uses many familiar third sector features such as forms of organization, tradition of volunteering and light administration to organize and fund its activities, but it also moves freely outside the third sector conventions, borrows and creates its own ways, which are sometimes again borrowed by actors outside the arts sector. Keywords: Independent arts sector, performing arts, third sector

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