Chasing the collaborative: critical studies of performer agency in modern flute music
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Abschlussarbeit Buch |
| Sprache: | English |
| Veröffentlicht: |
Oslo
Norwegian Academy of Music
2022
|
| Schriftenreihe: | NMH publications
2022:2 |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | Mit Zusammenfassung in norwegischer Sprache |
| Beschreibung: | xvii, 296 Seiten Illustrationen, Diagramme, Notenbeispiele |
| ISBN: | 9788278533017 |
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Datensatz im Suchindex
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| adam_text | Contents Acknowledgements iii Abstract v Samandrag Score copyright permissions vii xvii Preamble 1 Introduction З PARTI: 17 1 Presenting a sound 21 1.1 What is a key click 21 1.2 1.3 1.4 A first sighting The execution of a click Analysing the click 22 23 24 2 1936-1946: A slow introduction 26 2.1 2.2 Restrained advocacy Reviewing the compositional genesis of Density 21.5 26 27 2.3 2.4 The addition of a click Evaluating timbral integration 28 31 3 1947-1957: Density discovered 33 3.1 American densities 33 3.2 European densities 36 4 The four pieces of 1958 38 4.1 John Cage: Solo for Flute, Alto Flute and Piccolo 38 4.2 Luciano Berio: Sequenza I 4.3 Franco Evangelisti: Proporzioni - Strutture per flauto solo 4.4 Bruno Maderna: Musica su due dimensioni 40 42 43 4.5 Mapping shared sounds 44 ix
5 1959-1969: The transportation of novel instrumental techniques 47 5.1 5.2 Distributing competency Sonic appropriation 47 48 6 1970-1975: Saturation and formalization 51 6.1 6.2 Formalizing novel instrumental techniques The closing of a notational rupture 52 57 7 The key click as conflict 61 7.1 7.2 7.3 7.4 Restraint versus extension Regulating ideals across the Atlantic With nature, the voice and the instrument Established vs Novel Instrumental Practice 61 63 64 66 8 The key click as jazz influence 69 8.1 8.2 8.3 8.4 The instrumental practice of the saxophone in America Sonic mobility Exchanges of competency Situating the key click 69 71 71 73 9 Hybridizing the role of the performer 76 9.1 9.2 Gazzelloni’s workshop Ensemble experimentation 77 80 10 Listening through the click of a key 83 PARTII: 11 Collaborative verbalization The status of the interview Gathering information 11.3 Securing accuracy 11.4 Situating researcher and research object 11.5 Analytical process 11.1 11.2 12 Distinctions of meaning and value 12.1 Distinction 1: Freedom - Control 12.2 Distinction 2: Utopia - academia 12.3 Distinction 3: Risk - Safety 87 Ց0 90 91 93 93 94 96 97 98 99
12.4 Distinction 4: Virtuosity of Sound - Virtuosity of velocity 12.5 Distinction 5: Extraordinariness - Normality 12.6 Distinctions summarized 100 101 102 13 Tracing thematic coherence 104 13.1 Area A: Performer contributions to musical creation processes 13.2 Area B: A Novel Instrumental Practice 107 13.3 Area C: Contradicting notions of newness and authenticity 13.4 Reviewing coherence 119 125 14 Investigating dialogic performance 14.1 Acclaim as performed value(s) 14.2 Performing critique 113 130 14.3 Claims of influence 14.4 Avoiding narrative tension 131 133 135 137 14.5 Ihe reflexivity of rapport 14.6 Reviewing performativity 139 141 15 Thematic distinction, coherence and performance in dialogue with Roberto Fabbriciani PARTIU: 143 147 Re-searching the ‘doing’ of Das atmende Klarsein 150 16.1 Doing what one always does? 16.2 Introducing the sound worlds of Das atmende Klarsein 16.3 Examining ‘the doing’ of the Das atmende Klarsein workshops 16.4 Creating a sonic, motoric, and notational repository 16.5 Expanding, improvising, and creating musical material 150 16 16.6 Repeated, layered, documented, and performed evaluation 16.7 Inclusion and exclusion of material 16.8 Revisiting the doing of Das atmende Klarsein 16.9 Composition as directed emergence 151 155 156 159 162 165 168 169 171 17 Re-doing a workshop process for Das atmende Klarsein 17.1 17.2 172 Elevating a recorded performance Four strategies for exploring the sound world of Das atmende Klarsein 173 17.3 Approaching a new tape for movement 8 of Das atmende Klarsein 180 xi
17.4 17.5 Dialogues with futures past and present Works, workshops and fidelities 181 187 17.6 Reviewing re-doing 189 18 Re-sounding Das atmende Klarsein 191 18.1 Development, context, and execution 192 18.2 Unpacking the archive 194 18.3 18.4 Querying the item, querying the body Implicating space 196 197 18.5 Capturing agency? 199 18.6 18.7 Making, using, and thinking the archive Resisting the work 201 203 18.8 Aestheticizing the Workshop 206 CODA 209 References 221 Appendixes 235 Appendix 1: Chronological overview of publications on novel instrumental techniques, 1962-1980 237 Appendix 2: Archive resources consulted at Fondazione Luigi Nono Appendix 3: Documents of approval for the collection and use of interview information 241 Appendix 4: Interview Guides Appendix 5: Published interview, Habbestad Fabbriciani (2019) Appendix 6: Excerpts from notes, interviews, lessons and meetings RF/BH 291 Appendix 7: Fragments from a dialogue, Ellen Røed and Bjørnar Habbestad xii 295 239 247 263
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| adam_txt |
Contents Acknowledgements iii Abstract v Samandrag Score copyright permissions vii xvii Preamble 1 Introduction З PARTI: 17 1 Presenting a sound 21 1.1 What is a key click 21 1.2 1.3 1.4 A first sighting The execution of a click Analysing the click 22 23 24 2 1936-1946: A slow introduction 26 2.1 2.2 Restrained advocacy Reviewing the compositional genesis of Density 21.5 26 27 2.3 2.4 The addition of a click Evaluating timbral integration 28 31 3 1947-1957: Density discovered 33 3.1 American densities 33 3.2 European densities 36 4 The four pieces of 1958 38 4.1 John Cage: Solo for Flute, Alto Flute and Piccolo 38 4.2 Luciano Berio: Sequenza I 4.3 Franco Evangelisti: Proporzioni - Strutture per flauto solo 4.4 Bruno Maderna: Musica su due dimensioni 40 42 43 4.5 Mapping shared sounds 44 ix
5 1959-1969: The transportation of novel instrumental techniques 47 5.1 5.2 Distributing competency Sonic appropriation 47 48 6 1970-1975: Saturation and formalization 51 6.1 6.2 Formalizing novel instrumental techniques The closing of a notational rupture 52 57 7 The key click as conflict 61 7.1 7.2 7.3 7.4 Restraint versus extension Regulating ideals across the Atlantic With nature, the voice and the instrument Established vs Novel Instrumental Practice 61 63 64 66 8 The key click as jazz influence 69 8.1 8.2 8.3 8.4 The instrumental practice of the saxophone in America Sonic mobility Exchanges of competency Situating the key click 69 71 71 73 9 Hybridizing the role of the performer 76 9.1 9.2 Gazzelloni’s workshop Ensemble experimentation 77 80 10 Listening through the click of a key 83 PARTII: 11 Collaborative verbalization The status of the interview Gathering information 11.3 Securing accuracy 11.4 Situating researcher and research object 11.5 Analytical process 11.1 11.2 12 Distinctions of meaning and value 12.1 Distinction 1: Freedom - Control 12.2 Distinction 2: Utopia - academia 12.3 Distinction 3: Risk - Safety 87 Ց0 90 91 93 93 94 96 97 98 99
12.4 Distinction 4: Virtuosity of Sound - Virtuosity of velocity 12.5 Distinction 5: Extraordinariness - Normality 12.6 Distinctions summarized 100 101 102 13 Tracing thematic coherence 104 13.1 Area A: Performer contributions to musical creation processes 13.2 Area B: A Novel Instrumental Practice 107 13.3 Area C: Contradicting notions of newness and authenticity 13.4 Reviewing coherence 119 125 14 Investigating dialogic performance 14.1 Acclaim as performed value(s) 14.2 Performing critique 113 130 14.3 Claims of influence 14.4 Avoiding narrative tension 131 133 135 137 14.5 Ihe reflexivity of rapport 14.6 Reviewing performativity 139 141 15 Thematic distinction, coherence and performance in dialogue with Roberto Fabbriciani PARTIU: 143 147 Re-searching the ‘doing’ of Das atmende Klarsein 150 16.1 Doing what one always does? 16.2 Introducing the sound worlds of Das atmende Klarsein 16.3 Examining ‘the doing’ of the Das atmende Klarsein workshops 16.4 Creating a sonic, motoric, and notational repository 16.5 Expanding, improvising, and creating musical material 150 16 16.6 Repeated, layered, documented, and performed evaluation 16.7 Inclusion and exclusion of material 16.8 Revisiting the doing of Das atmende Klarsein 16.9 Composition as directed emergence 151 155 156 159 162 165 168 169 171 17 Re-doing a workshop process for Das atmende Klarsein 17.1 17.2 172 Elevating a recorded performance Four strategies for exploring the sound world of Das atmende Klarsein 173 17.3 Approaching a new tape for movement 8 of Das atmende Klarsein 180 xi
17.4 17.5 Dialogues with futures past and present Works, workshops and fidelities 181 187 17.6 Reviewing re-doing 189 18 Re-sounding Das atmende Klarsein 191 18.1 Development, context, and execution 192 18.2 Unpacking the archive 194 18.3 18.4 Querying the item, querying the body Implicating space 196 197 18.5 Capturing agency? 199 18.6 18.7 Making, using, and thinking the archive Resisting the work 201 203 18.8 Aestheticizing the Workshop 206 CODA 209 References 221 Appendixes 235 Appendix 1: Chronological overview of publications on novel instrumental techniques, 1962-1980 237 Appendix 2: Archive resources consulted at Fondazione Luigi Nono Appendix 3: Documents of approval for the collection and use of interview information 241 Appendix 4: Interview Guides Appendix 5: Published interview, Habbestad Fabbriciani (2019) Appendix 6: Excerpts from notes, interviews, lessons and meetings RF/BH 291 Appendix 7: Fragments from a dialogue, Ellen Røed and Bjørnar Habbestad xii 295 239 247 263 |
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| spelling | Habbestad, Bjørnar 1976- Verfasser (DE-588)1275625835 aut Chasing the collaborative critical studies of performer agency in modern flute music Bjørnar Habbestad Oslo Norwegian Academy of Music 2022 xvii, 296 Seiten Illustrationen, Diagramme, Notenbeispiele txt rdacontent n rdamedia nc rdacarrier NMH publications 2022:2 Mit Zusammenfassung in norwegischer Sprache Dissertation Norges musikkhøgskole 2022 Neue Musik (DE-588)4428235-7 gnd rswk-swf Kreativität (DE-588)4032903-3 gnd rswk-swf Flötenspiel (DE-588)4154648-9 gnd rswk-swf Performance Künste (DE-588)4173750-7 gnd rswk-swf (DE-588)4113937-9 Hochschulschrift gnd-content Flötenspiel (DE-588)4154648-9 s Neue Musik (DE-588)4428235-7 s Performance Künste (DE-588)4173750-7 s Kreativität (DE-588)4032903-3 s DE-604 Norges Musikkhøgskole (DE-588)1089124-9 isb Erscheint auch als Online-Ausgabe, PDF 978-82-7853-302-4 NMH publications 2022:2 (DE-604)BV000010710 2022,2 Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=033987296&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
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| title | Chasing the collaborative critical studies of performer agency in modern flute music |
| title_auth | Chasing the collaborative critical studies of performer agency in modern flute music |
| title_exact_search | Chasing the collaborative critical studies of performer agency in modern flute music |
| title_exact_search_txtP | Chasing the collaborative critical studies of performer agency in modern flute music |
| title_full | Chasing the collaborative critical studies of performer agency in modern flute music Bjørnar Habbestad |
| title_fullStr | Chasing the collaborative critical studies of performer agency in modern flute music Bjørnar Habbestad |
| title_full_unstemmed | Chasing the collaborative critical studies of performer agency in modern flute music Bjørnar Habbestad |
| title_short | Chasing the collaborative |
| title_sort | chasing the collaborative critical studies of performer agency in modern flute music |
| title_sub | critical studies of performer agency in modern flute music |
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