scholarly journals Beyond the Aural: Towards an Intermodal Framework for the Creation and Analysis of Performed Music

2021 ◽  
Author(s):  
◽  
Elliot Vaughan
Keyword(s):  
Music Performance ◽  
Creative Project ◽  
Performance Space ◽  
The Creation ◽  
Performed Music

<p>A music performance is an environment inhabited by an ecology of modalities, and music composed for performance should be discussed in terms of the various modalities and their interdependencies. Composition and analysis have traditionally prioritised the aural and the formal and tended to ignore performance space politics, corporeality, architecture, the objecthood of instruments and the subjecthood of instrumentalists, and other non-aural elements which contribute to the concert experience. This exegesis outlines a framework for the intermodal discussion of multimodal music for performance: Post-Aural Music. In Post-Aural Music the hierarchy of elements becomes fluid, the ‘aural’ no longer being the assumed authority. The framework is modelled after Hans-Thies Lehmann’s Postdramatic Theatre, an examination of modern theatre tendencies resulting from the dethroning of ‘drama’. It looks to Matthias Rebstock and David Roesner’s book Composed Theatre, an observation on how ‘compositional thinking’ is being applied to these other disciplines; and is illustrated by an analysis of Helmut Lachenmann’s Pression from the Post-Aural perspective. I reflect on the process and presentation of my own performance event Fish in Pink Gelatine, a ‘performed installation and staged concert’, as the creative project this exegesis supports.</p>

scholarly journals Beyond the Aural: Towards an Intermodal Framework for the Creation and Analysis of Performed Music

2021 ◽  
Author(s):  
◽  
Elliot Vaughan
Keyword(s):  
Music Performance ◽  
Creative Project ◽  
Performance Space ◽  
The Creation ◽  
Performed Music

<p>A music performance is an environment inhabited by an ecology of modalities, and music composed for performance should be discussed in terms of the various modalities and their interdependencies. Composition and analysis have traditionally prioritised the aural and the formal and tended to ignore performance space politics, corporeality, architecture, the objecthood of instruments and the subjecthood of instrumentalists, and other non-aural elements which contribute to the concert experience. This exegesis outlines a framework for the intermodal discussion of multimodal music for performance: Post-Aural Music. In Post-Aural Music the hierarchy of elements becomes fluid, the ‘aural’ no longer being the assumed authority. The framework is modelled after Hans-Thies Lehmann’s Postdramatic Theatre, an examination of modern theatre tendencies resulting from the dethroning of ‘drama’. It looks to Matthias Rebstock and David Roesner’s book Composed Theatre, an observation on how ‘compositional thinking’ is being applied to these other disciplines; and is illustrated by an analysis of Helmut Lachenmann’s Pression from the Post-Aural perspective. I reflect on the process and presentation of my own performance event Fish in Pink Gelatine, a ‘performed installation and staged concert’, as the creative project this exegesis supports.</p>

«Lenataur» in the museum

2019 ◽  
Author(s):  
Оксана Александровна Абальмасова
Keyword(s):  
Creative Process ◽  
Modern Society ◽  
Art Museum ◽  
Arts And Crafts ◽  
Main Task ◽  
Joint Work ◽  
Creative Processes ◽  
Creative Project ◽  
The Creation

В статье представлен обзор выставки современного декоративноприкладного искусства Ленатавр, проходившей в Красноярском художественном музее имени В.И.Сурикова. Описание совместного творческого проекта музея и художников керамиста Елены Красновой и живописца Елены Лихацкой наглядно иллюстрирует технические трудности и творческие процессы, возникающие в совместной работе авторов произведений и куратора выставки. Автором с позиции куратора рассматривается подготовка выставки как творческий процесс и экспозиция выставки как самостоятельный художественный объект, при создании которого необходимо учесть множество взаимодополняющих факторов, соблюсти определенные условия экспонирования на музейной площади, совместить творчество разных художников, избежав диссонанса. Главная задача куратора состоит в том, чтобы представить произведения художников с такой позиции, при которой у посетителей возникает необходимость изучения творчества представленных авторов, которая вызывает побуждение к размышлению, привлекает внимание к животрепещущим вопросам современного общества, рассматриваемым в работах Елены Красновой. The article presents an overview of the Lenataur exhibition of contemporary arts and crafts, which took place in the Krasnoyarsk Art Museum named after V.I. Surikov. A description of the joint creative project of the museum and artists (ceramist Elena Krasnova and painter Elena Lihacka) vividly illustrates the technical difficulties and creative processes that arise in the joint work of the authors of the works and the curator of the exhibition. From the position of the curator, the author considers the preparation of the exhibition as a creative process and the exhibition as an independent artistic object, the creation of which requires taking into account many complementary factors, meeting certain conditions of display on the museum square, combining the work of various artists, avoiding dissonance. The main task of the curator is to present works of artists from such a position, in which the visitors need to study the works of the submitted authors, which causes an incentive to reflect, draws attention to the burning issues of modern society, considered in the works of Elena Krasnova.

Responding to performers

2017 ◽  
Author(s):  
Sinéad O’Neill ◽  
John Sloboda
Keyword(s):  
Music Performance ◽  
Musical Performance ◽  
Multiple Relationships ◽  
Social Phenomenon ◽  
Structural Elements ◽  
Creative Performance ◽  
Peak Experiences ◽  
Creative Practice ◽  
Performance Space ◽  
Different Levels

Musical performance is an irreducibly social phenomenon, manifested through the multiple relationships between performers and audience. In live contexts, the nature and meaning of performance encompass the two-way interplay between performers and audience. This chapter surveys a range of research, from the philosophical to the empirical, into the parameters of this interplay, both during and after performances, focusing most specifically on those aspects that have implications for the creative practice of the musician. These aspects go beyond sound parameters to features of the performance often seen as ‘extra-musical’, such as the visual and gestural aspects of performance, the architecture of the performance space and perceived norms of behaviour within the concert context. Consideration is given to how these elements contribute to different levels of experience, from the ‘basic’ appreciation of structural elements through to the ‘peak’ experiences which music performance sometimes engenders. Also considered is audience feedback, both formal and informal, and how it may have an impact on creative performance.

scholarly journals FORMATION OF MUSICAL AND AESTHETIC CULTURE OF FUTURE TEACHERS OF MUSICAL ART BY MEANS OF THE FESTIVAL MOVEMENT

2021 ◽  
Vol 1 (192) ◽  
pp. 26-31
Author(s):  
Volodуmуr Сherkasov ◽  
Keyword(s):  
Music Teachers ◽  
Positive Impact ◽  
Music Performance ◽  
Music Teacher ◽  
Aesthetic Perception ◽  
Future Teachers ◽  
Aesthetic Taste ◽  
The Future ◽  
The Creation ◽  
Education And Development

The article substantiates the formation of musical and aesthetic culture of future teachers of music by means of the festival movement. The substantiation of the festival-competition «Steps to Mastery» is just being held on the basis of the Centralukrainian State Pedagogical University named after Volodymyr Vynnychenko. Music culture in the context of training future music teachers in higher education is interpreted by us as a complex dynamic phenomenon that integrates knowledge, skills and abilities in major musicological disciplines, experience in various types of music performance, the level of intellectual and creative abilities of future music teachers art, readiness for active musical and creative activity and increase of values of musical art. Aesthetic culture of the future music teacher is defined as a holistic, complex personal education, characterized by globalization of aesthetic worldview, level of aesthetic education and development, refined aesthetic taste, aesthetic perception and response to works of music, as well as the creation of aesthetic values in life and art. Musical and aesthetic culture of the future music teacher is the core of his professional culture, spiritual values and personal intellectual and artistic image. In the process of studying music-theoretical, instrumental and vocal-choral disciplines, future music teachers form an emotional and value attitude to the creative heritage of composers who were able to recreate the style, character and atmosphere of the era, which forms a holistic picture of the world, allows to think and focus those events that affected social change and contributed to progressive neoplasms in society. Participation in the festival movement promotes the creation of relationships between innovation, technology and creativity, the search for innovative and creative ideas. There is a presentation of the professional level of performers and musical groups, creative interaction is formed in the context of a new system of communication and a new model of cultural life. Music festivals have a positive impact on the preservation of cultural heritage, the promotion of national and world values.

scholarly journals THE CONCEPT OF PANGAWINAN IN THE MUSIC PERFORMANCE OF TALEMPONG RENJEANG ANAM SALABUHANIN LUHAK NAN TIGO MINANGKABAU

2017 ◽  
Vol 2 (2) ◽  
pp. 333
Author(s):  
Andar Indra Sastra ◽  
Od.M. Anwar ◽  
Mohd Nazir Ibrahim
Keyword(s):  
Music Performance ◽  
Theoretical Concept ◽  
The Third ◽  
Philosophical Basis ◽  
The Creation

This article discusses the concept of Pangawinan in the performance of talempong Renjeang Anam Salabuhan in Luhak Nan Tigo Minangkabau. As a concept, there are two different understandings of pangawinan, namely: (1) pangawinan with a small ‘p’, which is the philosophical basis for the formation of a pair of talempong as a musical system – implemented through the methods lipek duo and dipatukakan (doubling and interchanging); (2) Pangawinan with a capital ‘P’, which is used to refer to a pair of talempong, Pangawinan – Paningkah duo. As a musical system, talempong renjeang consists of three pairs of talempong instruments, known as the talempong Jantan, talempong Paningkah or Paningkah Satu, and talempong Pangawinan or Paningkah Duo. This research employed a theoretical concept based on the philosophy tali tigo sapilin, tungku nan tigo sajarangan – a three-way pattern; a trilogy of reasoning in the Minangkabau community. The formation of the three-way pattern begins with a two-way or bipolar pattern, and the third position emerges as a counterbalance to create harmony. The main data were collected through observations, interviews, and documentations. The findings show that the concept of pangawinan in the performance of talempong renjeang anam salabuhan functions to provide a certainty in the creation of the talempong melody (guguah) in order to achieve raso batalun (aesthetical pleasure).Keywords: Indonesia, Luhak Nan Tigo, Minangkabau, pangawinan, talempong renjeang anam salabuhanCite as: Sastra, A.I., Anwar, Od.M.  Ibrahim, M.N. (2017). The concept of Pangawinan in the music performance of Talempong Renjeang Anam Salabuhanin Luhak Nan Tigo Minangkabau. Journal of Nusantara Studies, 2(2), 333-347.

scholarly journals The principle of modeling as a means of classification of instrumental ensembles with a domra

2021 ◽  
pp. 11-19
Author(s):  
Elena Vladimirovna Lygina
Keyword(s):  
Classical Music ◽  
Music Performance ◽  
Pop Music ◽  
Music Culture ◽  
Modern Music ◽  
The Creation ◽  
And Performance ◽  
Instrumental Ensembles ◽  
Vast Range

The present article, developing a comprehensive approach to the classification of instrumental ensembles with a domra, aims at detecting the principles which can serve as a basis for the creation of various models of such objects. The author suggests analyzing the aspects of existence of the phenomenon under study from various positions: as music groups, and from the viewpoint of music compositions created for such groups. The article considers and compares the models of concert groups according to the number of their members and instrumental components, as well as according to the genre and style peculiarities of the repertoire of instrumental ensembles with a domra and their cooperation with composers. This classification method helps to comprehensively cover the work of a large number of musicians, both the members of ensembles and composers. The modeling of various systems of the creation of methods of classification of instrumental ensembles helps to study the peculiarities of the existence of such groups in modern music culture. The author arrives at the conclusion that at present, the music performance spectrum of Russia contains a vast range of ensembles with various instrumental contents and different numbers of members. The diversity of genre and style models of such groups is reflected in their repertoire - from folklore, classical music and modern composers schools to jazz, rock, pop-music and performance.&nbsp; &nbsp;

scholarly journals Shoe Box: An Analysis of the Concert Hall and its Adaption to Small-Scale Music Performance Space

2021 ◽  
Author(s):  
◽  
John Mauvan
Keyword(s):  
Large Scale ◽  
Music Performance ◽  
Small Scale ◽  
Late Nineteenth Century ◽  
Concert Hall ◽  
Existing Building ◽  
Acoustic Performance ◽  
Design Project ◽  
Performance Space ◽  
Concert Halls

<p>In the first 150 years after 1600, western music was traditionally performed in palace ballrooms which were mostly rectangular in shape. In the following two centuries a change in social conditions led to the first halls especially built for public concerts. Although the audience capacity of these halls had increased exponentially, those that derived from the rectangular plans and dimensions of the ballrooms in the century before proved to have particularly favourable acoustics. The proportions of which are roughly that of a double cube, 1:1:2. Today this rectangular form is widely ascribed throughout acoustic literature as the shoebox. Although the shoebox has proven a popular paradigm in all time periods, until the late nineteenth century little was known of the scientific reasoning for its acoustic success. Therefore much of the contemporary literature regarding the model has focused on the large-scale designs of the nineteenth and twentieth century. Comparatively, less is written about the adaption of these design concepts to smaller-scaled concert facilities with audience capacities up to 400 persons. This thesis analyses a number of highly celebrated large-scale concert halls, with audience capacities between 1,500-3,000, and tests the application of their design principles to small-scale concert spaces with capacities ranging between 100-350 persons. The aims of this thesis are applied to a design project, which seeks to adapt the traditional shoebox archetype to a series of small-scale concert spaces, initiated by a design brief for the New Zealand School of Music (NZSM). The design project relocates the NZSM to an existing building on a disused site in central Wellington. Acknowledging the programmatic need for acoustic performance in conjunction with the social component inherent to the occupation of an urban territory, this thesis investigates two strands of design logic: technical and contextual. One strand investigates the acoustic performance of the concert hall; the other investigates its response to site context. The findings from this thesis are substantiated through a method of proportionate variation whereby the acoustic principles of large-scale concert halls are adopted to small-scale music halls. In addition, the findings established from a site analysis of contemporary large-scale concert halls are then downscaled to inform the integration of the NZSM programme with the proposed inner city site.</p>

scholarly journals Shoe Box: An Analysis of the Concert Hall and its Adaption to Small-Scale Music Performance Space

2021 ◽  
Author(s):  
◽  
John Mauvan
Keyword(s):  
Large Scale ◽  
Music Performance ◽  
Small Scale ◽  
Late Nineteenth Century ◽  
Concert Hall ◽  
Existing Building ◽  
Acoustic Performance ◽  
Design Project ◽  
Performance Space ◽  
Concert Halls

<p>In the first 150 years after 1600, western music was traditionally performed in palace ballrooms which were mostly rectangular in shape. In the following two centuries a change in social conditions led to the first halls especially built for public concerts. Although the audience capacity of these halls had increased exponentially, those that derived from the rectangular plans and dimensions of the ballrooms in the century before proved to have particularly favourable acoustics. The proportions of which are roughly that of a double cube, 1:1:2. Today this rectangular form is widely ascribed throughout acoustic literature as the shoebox. Although the shoebox has proven a popular paradigm in all time periods, until the late nineteenth century little was known of the scientific reasoning for its acoustic success. Therefore much of the contemporary literature regarding the model has focused on the large-scale designs of the nineteenth and twentieth century. Comparatively, less is written about the adaption of these design concepts to smaller-scaled concert facilities with audience capacities up to 400 persons. This thesis analyses a number of highly celebrated large-scale concert halls, with audience capacities between 1,500-3,000, and tests the application of their design principles to small-scale concert spaces with capacities ranging between 100-350 persons. The aims of this thesis are applied to a design project, which seeks to adapt the traditional shoebox archetype to a series of small-scale concert spaces, initiated by a design brief for the New Zealand School of Music (NZSM). The design project relocates the NZSM to an existing building on a disused site in central Wellington. Acknowledging the programmatic need for acoustic performance in conjunction with the social component inherent to the occupation of an urban territory, this thesis investigates two strands of design logic: technical and contextual. One strand investigates the acoustic performance of the concert hall; the other investigates its response to site context. The findings from this thesis are substantiated through a method of proportionate variation whereby the acoustic principles of large-scale concert halls are adopted to small-scale music halls. In addition, the findings established from a site analysis of contemporary large-scale concert halls are then downscaled to inform the integration of the NZSM programme with the proposed inner city site.</p>

Archives Internationales de la Danse [International Archives of Dance (AID)] (1931–1952)

2018 ◽  
Author(s):  
Sanja Andus L’Hotellier
Keyword(s):  
Quarterly Journal ◽  
Research Environment ◽  
Classical Dance ◽  
Performance Space ◽  
Innovative Research ◽  
Institutional Void ◽  
The Creation ◽  
And Performance

The Archives Internationales de la Danse (AID) was a pioneering dance foundation created by Rolf de Maré in Paris in 1931. Devoted to dance in all its forms and global manifestations, this unique venue comprised a dance museum, library, archive, a sociology and ethnography section, conference hall, and an exhibition and performance space. Created as a response to the institutional void for dance, AID focussed its activities in four general areas—exhibitions, choreography competitions, research, and publication. Between 1932 and 1947 AID produced thirteen exhibitions and three international choreographic competitions, in addition to promoting research through its collections and ethnographic projects, and publishing a quarterly journal, La Revue des A.I.D. (The AID Review), from 1933 to 1937. In a landscape marked by the preeminence of classical dance, AID supported modern forms of choreography, the exploration of non-Western traditions, and the creation of an innovative research environment.

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