scholarly journals (Per)forming Open Form: A Case Study with Earle Brown’s Novara

2020 ◽  
Vol 26 (3) ◽  
Author(s):  
Drake Andersen
Keyword(s):  
Linear Time ◽  
Open Form ◽  
Structural Function ◽  
A Performance

Most accounts of Earle Brown’s open form compositions focus on the notated qualities of individual events in the score. However, the conductor’s role in ensuring continuity and formal coherence within a performance is rarely acknowledged. In this article, I analyze recordings of three performances of Brown conducting his composition Novara (1962), two with the Virtuoso Ensemble in 1966 and one with a group of Dutch musicians in 1974. The conductor’s interventions in each performance embody a range of strategies used to suggest structural function and organize the time of performance. The multiplicity of musical processes in play within—and between—performances in turn suggests a parallel with Jonathan Kramer’s concept of multiply-directed linear time.

The Category Is . . . Opulence!

2020 ◽  
Vol 7 (1) ◽  
Author(s):  
Joseph Plaster
Keyword(s):  
Performance Studies ◽  
Knowledge Creation ◽  
People Of Color ◽  
Gender Nonconforming ◽  
Johns Hopkins University ◽  
The Cross ◽  
And Gender ◽  
A Performance

In recent years there has been a strong “public turn” within universities that is renewing interest in collaborative approaches to knowledge creation. This article draws on performance studies literature to explore the cross-disciplinary collaborations made possible when the academy broadens our scope of inquiry to include knowledge produced through performance. It takes as a case study the “Peabody Ballroom Experience,” an ongoing collaboration between the Johns Hopkins University Sheridan Libraries, the Peabody Institute BFA Dance program, and Baltimore’s ballroom community—a performance-based arts culture comprising gay, lesbian, queer, transgender, and gender-nonconforming people of color.

Integrating a performance-based approach into practice: a case study

2005 ◽  
Vol 33 (2) ◽  
pp. 128-141 ◽  
Author(s):  
David Hammond ◽  
James J. Dempsey ◽  
Françoise Szigeti ◽  
Gerald Davis
Keyword(s):  
A Performance

scholarly journals Vibration Analysis by the Wigner-Ville Transformation Method

2018 ◽  
Vol 20 (4) ◽  
pp. 24-28 ◽  
Author(s):  
Jaroslav Smutny ◽  
Viktor Nohal ◽  
Daniela Vukusicova ◽  
Herbert Seelmann
Keyword(s):  
Mathematical Analysis ◽  
Vibration Analysis ◽  
Linear Time ◽  
Practical Experience ◽  
Transformation Method ◽  
Application Area ◽  
Interesting Application ◽  
Time Frequency ◽  
Natural Processes

This paper deals with description and application of the Wigner-Ville transformation for vibration analysis. This transformation belongs to the group of non-linear time-frequency processes. Thanks to its properties, it may be successfully used in the area of non-stationary and transitional signals describing various natural processes. The use in the field of the railway constructions testing represents a quite an interesting application area of the transformation. This paper contains mathematical analysis of the transformation, a case study and practical experience obtained and recommendations for its practical use.

Reading the Romancero: A journey from the score to the sound with a non-professional choir

2022 ◽  
pp. 030573562110420
Author(s):  
Aoife Hiney
Keyword(s):  
Hierarchical Structure ◽  
Musical Development ◽  
Collective Processes ◽  
Musical Interpretation ◽  
The Individual ◽  
Inclusive Processes ◽  
Personal Reflections ◽  
Musical Literacy ◽  
A Performance

This case study focuses on the processes involved in co-constructing an interpretation of Mario Castelnuovo-Tedesco’s Romancero Gitano with a non-professional choir. Rehearsals began in April 2018 and culminated with a performance in June 2018. In order to develop an understanding of the individual and collective processes involved, data were generated through autoethnography and journaling. These texts tracked our regular weekly rehearsals, any extra individual practice, and the performance experience. Seven journals were subsequently compiled and analyzed together with my autoethnography. The findings show that the bulk of the writings focused on technical questions like correctly executing the information contained in the score, with significantly fewer references to other aspects of musical interpretation, such as timbre, or personal reflections regarding our perception of the music and our journey in learning and performing the work. Furthermore, the texts reveal a hierarchical structure within the choir, especially related to perceived levels of musical literacy and/or institutionalized knowledge. In this article, I discuss the various experiences relating to the process of co-constructing a musical interpretation, together with the potential of journaling to develop reflexive, conscious, and inclusive processes of collective musical development within the context of a non-professional choir.

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