scholarly journals “Leading” as a mode of interaction and communication in contemporary music performance-practice

Trio ◽  
2021 ◽  
Vol 10 (1) ◽  
pp. 40-64
Author(s):  
Maria Puusaari
Keyword(s):  
Case Studies ◽  
20Th Century ◽  
Performance Practice ◽  
Chamber Ensemble ◽  
Contemporary Music ◽  
Music Performance ◽  
Body Language ◽  
Interactive Process ◽  
Cultural Aspects

In this paper, I discuss “leading” in the performance-practice of contemporary music. First, I take a brief view on the development of music from the second half of the 20th century until today to highlight some of the challenges of leading the contemporary music repertoire. I survey existing research on interaction, communication and leadership in ensemble playing and use this viewpoint to briefly explore aspects of leadership and other roles in playing in a contemporary chamber ensemble without a conductor. Finally, I describe my own practice of leading as a violinist through three case studies in the contemporary music repertoire. Based on Leman’s theory of expressive alignment and enactment processes (2016), I approach leading as a multimodal, crossmodal and multidirectional interactive process. I divide leading into temporal and expressive leading techniques that are used to communicate different temporal and expressive musical features. I argue that leading techniques must be practiced and embedded in body language as separate, instrument-specific playing techniques. In addition to leading techniques, I provide temporal, sensorimotor, acoustical, instrument-specific and socio-cultural aspects that affect leading practices.

Humanism and Music

2020 ◽  
Author(s):  
Christopher M. Driscoll
Keyword(s):  
Artificial Intelligence ◽  
Popular Culture ◽  
Popular Music ◽  
Case Studies ◽  
Contemporary Music ◽  
Theoretical Relationship ◽  
Rock Band ◽  
Historical Developments ◽  
The Relationship

This chapter explores the relationship between humanism and music, giving attention to important theoretical and historical developments, before focusing on four brief case studies rooted in popular culture. The first turns to rock band Modest Mouse as an example of music as a space of humanist expression. Next, the chapter explores Austin-based Rock band Quiet Company and Westcoast rapper Ras Kass and their use of music to critique religion. Last, the chapter discusses contemporary popular music created by artificial intelligence and considers what non-human production of music suggests about the category of the human and, resultantly, humanism. These case studies give attention to the historical and theoretical relationship between humanism and music, and they offer examples of that relationship as it plays out in contemporary music.

Ende der Neuen Musik

2021 ◽  
Vol 72 (3) ◽  
pp. 201-213
Author(s):  
Christoph Von Blumröder
Keyword(s):  
20Th Century ◽  
Music Theory ◽  
Contemporary Music ◽  
Current Theory ◽  
Musical Composition ◽  
The Political ◽  
German Language ◽  
Early 20Th Century ◽  
Late 20Th Century ◽  
A Current

The term "Neue Musik" was coined for a special concept of fundamental musical innovation within Austro-German music theory of the early 20th century, and it found no terminological equivalent beyond the German language. Established by Paul Bekker with his lecture “Neue Musik” in 1919, composers such as Stockhausen or Ligeti embraced the term with its emphatic claim to innovation and new departures. However, one hundred years on the term "Neue Musik" is often used mainly as a synonym for any type of contemporary music. This article questions whether the term "Neue Musik" is still an appropriate framework for a current theory of musical composition. Not only have the specific musical circumstances changed within the course of the 20th century, but also the political and social conditions have altered drastically after two world wars which had given special impulses to those composers who strove for a new foundation of music after 1918 and 1945 respectively. This article argues that the age of "Neue Musik" has come to an end in the late 20th century, and thus it is now necessary to introduce alternative terminological concepts and methodical directions for music historiography.

scholarly journals Pharmaceuticals and modern statecraft in South Africa: the cases of opium, thalidomide and contraception.

2018 ◽  
Vol 44 (4) ◽  
pp. 253-262 ◽  
Author(s):  
Julie Parle ◽  
Rebecca Hodes ◽  
Thembisa Waetjen
Keyword(s):  
South Africa ◽  
Case Studies ◽  
20Th Century ◽  
Early 20Th Century ◽  
Pharmaceutical Regulation ◽  
Institutional Practices ◽  
Colonial Era ◽  
History Of ◽  
Medical Histories ◽  
Pharmaceutical Governance

This article provides a history of three pharmaceuticals in the making of modern South Africa. Borrowing and adapting Arthur Daemmrich’s term ‘pharmacopolitics’, we examine how forms of pharmaceutical governance became integral to the creation and institutional practices of this state. Through case studies of three medicaments: opium (late 19th to early 20th century), thalidomide (late 1950s to early 1960s) and contraception (1970s to 2010s), we explore the intertwining of pharmaceutical regulation, provision and consumption. Our focus is on the modernist imperative towards the rationalisation of pharmaceutical oversight, as an extension of the state’s bureaucratic and ideological objectives, and, importantly, as its obligation. We also explore adaptive and illicit uses of medicines, both by purveyors of pharmaceuticals, and among consumers. The historical sweep of our study allows for an analysis of continuities and changes in pharmaceutical governance. The focus on South Africa highlights how the concept of pharmacopolitics can usefully be extended to transnational—as well as local—medical histories. Through the diversity of our sources, and the breadth of their chronology, we aim to historicise modern pharmaceutical practices in South Africa, from the late colonial era to the Post-Apartheid present.

Virtuosities of Deafness and Blindness

2018 ◽  
pp. 275-294
Author(s):  
Stefan Sunandan Honisch
Keyword(s):  
Case Studies ◽  
Music Performance ◽  
The Other ◽  
Complex Relationship ◽  
Other Hand ◽  
Musical Representations

This chapter explores the convergence of disability and virtuosity in competitive music performance. Two case studies of the pianist Nobuyuki Tsujii performing Beethoven’s Apassionata and Hammerklavier sonatas in the 2009 Van Cliburn International Piano Competition illustrate how the virtuosic body renders both normal and disabled bodies as other within the competitive arena. The critical and popular reception of these performances by Tsujii made much of their staging of a musical encounter between a blind pianist and a deaf composer; Tsujii himself, on the other hand, has publicly declared a more complex relationship to Beethoven as a fellow disabled musician. Exploring blindness and deafness as forms of virtuosity, this chapter shows how musical representations of virtuosity in performance exist in unfixed, dynamic, and even unsettling relationships to normal and disabled senses, bodies, and minds.

Percussion Theatre: a body in between

2018 ◽  
Author(s):  
◽  
Jennifer Torrence
Keyword(s):  
Contemporary Music ◽  
Music Performance ◽  
The Body ◽  
John Cage ◽  
Artistic Practice ◽  
Research Project ◽  
Art Forms ◽  
Recent Developments ◽  
And Performance

What does the musician become when sound and instrumental thinking are no longer privileged as the foundation of a musician's practice? In what ways does an emphasis on the musician's body cause music to approach art forms such as theatre and performance? After a generation of pioneering work from Mauricio Kagel, Dieter Schnebel, John Cage and many others, where is the theatrical and the performative in music today? How do its recent developments shape, alter, constitute a musician's artistic practice? Through her research, Jennifer Torrence argues that this type of music demands the musician assume a different understanding and relation to their instrument and therefore a different relation to their body. This relation calls for new ways of making and doing (new artistic practices) that foreground the body as a fundamental performance material. Through an emphasis on the body, the musician emerges as a performer. This exposition is a reflection on the research project Percussion Theatre: a body in between. This project is comprised of a collection of new evening-length works that approach the theatrical and performative in contemporary music performance. These works are created with and by composers Wojtek Blecharz, Carolyn Chen, Neo Hülcker, Johan Jutterström, Trond Reinholdtsen, François Sarhan, and Peter Swendsen. The exposition contains reflections on recent developments in contemporary music that mark a mutation of the executing musician into a co-creating performer, as well as images, artefacts, videos, and texts that unfold the process of creating and performing the work that constitutes this project. The ambition of this exposition is that through the exposure of a personal artistic practice an image of a larger field may come into focus.

scholarly journals The Impact of Cultural Aspects on Building the Smart City Approach: Managing Diversity in Europe (London), North America (New York) and Asia (Singapore)

2020 ◽  
Vol 12 (22) ◽  
pp. 9463
Author(s):  
Dominika Šulyová ◽  
Josef Vodák
Keyword(s):  
North America ◽  
Case Studies ◽  
Smart City ◽  
Smart Cities ◽  
Secondary Analysis ◽  
Diversity Management ◽  
Cultural Aspects ◽  
Positive Effects ◽  
Research Activities ◽  
The Impact

One of the main motives for creating this article was to explore the importance of cultural aspects in building smart city approaches. The aim of this article was to obtain answers to three research questions, the answers to which made it possible to identify the elements of multiculturalism that affect the development of smart cities, to find out how multiculturalism affects smart cities and how to manage diversity. The ambition was to create and organize the most important findings into a comprehensive framework. To achieve this goal, secondary analysis methods were used by examining the literature and case studies of best practices from Europe, North America, and Asia. The choice of case studies was conditioned by the placement of smart cities in four global indices (smart city index, Arcadis, IESE and global power index), the existence of a multicultural strategy and elements of successful diversity management, including positive effects and possible limitations. In addition, methods of analysis, comparison and summarization were used. Effective diversity management acts as an accelerator of the sustainable development of smart cities. The results of the analysis of the case studies serve as a basis for recommendations and the creation of a proposed general model, whose task is to simplify the adoption of intelligent concepts, which creates space for the specification of local or cultural conditions of the country. Testing the model in practice is the subject of the following research activities of the authors.

DIFFERENT TRAILS: ON THE MULTIPLE GENETIC ROOTS DETERMINING A DISTRIBUTED COMPOSITIONAL PROJECT

Tempo ◽  
2019 ◽  
Vol 73 (290) ◽  
pp. 56-72 ◽  
Author(s):  
José L. Besada
Keyword(s):  
Case Studies ◽  
Creative Process ◽  
Contemporary Music ◽  
Third Party ◽  
Substantial Impact

AbstractAlthough it is a mistake to believe that the material traces left by a composer's practice can help us to properly reconstruct the creative process, compositional sketches may throw light on it. Nevertheless many such accounts take their respective case studies as isolated objects that are, unfortunately, sometimes decontextualised from the whole record of their authors. Ethnography potentially offers a better methodology and auto-ethnographic accounts, third party observations, and mixtures of these approaches have already been applied to contemporary music. This article aims to combine both these approaches in a discussion of a recent compositional project at IRCAM, carried out by a team of three people. I consider how the previous artistic experiences and achievements of these people, jointly and separately, have had a substantial impact on their shared project. In addition, as the case study had a scientific underpinning, I comment on the cognitive bridge that the composer had to build between scientific and musical conceptions.

Vítězslava Kaprálová: a remarkable voice in 20th-century Czech Music

Tempo ◽  
2000 ◽  
pp. 23-25
Author(s):  
Eugene Gates ◽  
Karla Hartl
Keyword(s):  
20Th Century ◽  
International Society ◽  
Contemporary Music ◽  
Great Promise ◽  
Czech Music ◽  
Unusual Phenomenon ◽  
Bohuslav Martinu ◽  
And Performance

It was with enormous pride in the achievements of his 23-year-old protégé Vítězslava Kaprálová that Bohuslav Martinů wrote the following in his review of the 1938 International Society for Contemporary Music (ISCM) Festival, held in London:The very first item on the programme of the Festival was Military Sinfouictta by Vitězslava Kaprálová – an opening with great promise for both the festival and the composer. Her performance was awaited with interest as well as some curiosity – a girl with a baton is quite an unusual phenomenon – and when our ‘little girl conductor’ (as the English newspapers called her) appeared before the orchestra, she was welcomed by a supportive audience. She stood before the orchestra with great courage and both her composition and performance earned her respect and applause from the excellent BBC orchestra, the audience, and the critics. … Kaprálová's international debut is a success, promising and encouraging.

Sign in / Sign up

Export Citation Format

Share Document