Contemporary Music Review最新文献

{"title":"Re-Thinking Virtuosity for the Hybrid Era of Multifarious Approaches","authors":"Linda Jankowska","doi":"10.1080/07494467.2023.2277544","DOIUrl":"https://doi.org/10.1080/07494467.2023.2277544","url":null,"abstract":"Virtuosity in the twenty-first century is undergoing a transformation. Technological changes have altered the relations between artists, audience, critics and tools, requiring a redefinition of vir...","PeriodicalId":44746,"journal":{"name":"Contemporary Music Review","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-11-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138538538","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"‘Developing Live-interactive Approaches to New Music for Organ and Electronics Through Collaboration’","authors":"Lauren Redhead","doi":"10.1080/07494467.2023.2277545","DOIUrl":"https://doi.org/10.1080/07494467.2023.2277545","url":null,"abstract":"In this article, I argue for a shift of focus from mechanical/technological and sonic approaches to music for organ and electronics towards the role of the organist as a performing musician in the ...","PeriodicalId":44746,"journal":{"name":"Contemporary Music Review","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-11-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138538536","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Sonic Directions to the Urban Student: Lyotard, the Megalopolis, and Not Listening as Pedagogy","authors":"Derek R. Ford","doi":"10.1080/07494467.2023.2283820","DOIUrl":"https://doi.org/10.1080/07494467.2023.2283820","url":null,"abstract":"This article contributes to research on Lyotard and sounds by taking up the urban as an ensemble that is immediately a matter of sound and education, approaching pedagogy not as a tactic but as a s...","PeriodicalId":44746,"journal":{"name":"Contemporary Music Review","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-11-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138505386","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Experimental Approaches in Portuguese Music Theatre","authors":"Filipa Magalhães","doi":"10.1080/07494467.2023.2278354","DOIUrl":"https://doi.org/10.1080/07494467.2023.2278354","url":null,"abstract":"","PeriodicalId":44746,"journal":{"name":"Contemporary Music Review","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135285835","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Constança Capdeville and the ColecViva Group: Alejandro Erlich Oliva in Interview with Filipa Magalhães","authors":"Filipa Magalhães","doi":"10.1080/07494467.2023.2267310","DOIUrl":"https://doi.org/10.1080/07494467.2023.2267310","url":null,"abstract":"ABSTRACTThis article explores the ColecViva activities from the perspective of founding member and double bass player Alejandro Erlich Oliva (b. 1948). The group was founded by the composer Constança Capdeville in 1985 with the aim of performing her music and theatre works and as a pioneering project in Portugal. Interviewed by Filipa Magalhães on two occasions (in 2018 and 2023), Erlich Oliva details the first steps of the group’s actions, discusses the ongoing collaborative work among members of ColecViva, and addresses the ‘pedagogy of deconditioning’ concept that he forged. In the 1980s, Capdeville guided stimulating study programs at the Calouste Gulbenkian Foundation in which Erlich Oliva, as a lecturer, defined the contents within the scope of non-conventional procedures for obtaining sound from the double bass. Capdeville dedicated the music theatre work Amen para uma ausência (1986) for a solo double bass to him. At the composer’s request and in close collaboration with her, Erlich Oliva created the graphic score with specific writing notes for the double bass. This last interview attempts to shed light on his perceptions as a performer.KEYWORDS: Constança CapdevillePortuguese music theatreColecVivaAlejandro Erlich Olivadouble bassperformance AcknowledgmentsDecades later, it appears that the inaugural gesture of Constança Capdeville and ColecViva did not follow through. Only recently did some interest in the subject start to emerge among younger generations. I would like to thank Alejandro Erlich Oliva and all the people I have interviewed over the years who have helped me in this crusade of disseminating Constança Capdeville’s music.Disclosure StatementNo potential conflict of interest was reported by the author(s).Notes1 A music theatre group founded in 1985 by Constança Capdeville in order to perform her works written in the context of this performative genre.2 Source: https://musicamera.pt/en/alejandroerlicholiva/.3 This interview is part of the doctoral research carried out by Filipa Magalhães. The original interview (Magalhães Citation2020b, 323–328) was conducted in Portuguese and is published here in English for the first time.4 Composer, pianist, percussionist, pedagogue, and teacher, Capdeville is the principal figure linked to the music theatre performative genre in Portugal.5 See the full interview in Portuguese in Magalhães (Citation2023, 21).6 The Gulbenkian Contemporary Music Meetings (EGMC) lasted between 1977 and 2002 and were dedicated to the promotion and dissemination of contemporary music in Portugal and abroad.7 Opus Ensemble was a Portuguese chamber music ensemble, founded in August 1980 by oboist and conductor Bruno Pizzamiglio, violist Ana Bela Chaves, pianist Olga Prats, and double bass player Alejandro Erlich Oliva. The highly-awarded ensemble has an extensive portfolio of performances in Portugal and a vast discography. Many Portuguese composers, also some from other countries, composed works specifically for ","PeriodicalId":44746,"journal":{"name":"Contemporary Music Review","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135932836","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"ColecViva and its Collaborative Methods Viewed as an Educational Project","authors":"Filipa Magalhães","doi":"10.1080/07494467.2023.2246313","DOIUrl":"https://doi.org/10.1080/07494467.2023.2246313","url":null,"abstract":"ABSTRACT\u0000 The ColecViva was a group founded in 1985 by the composer Constança Capdeville (1937–1992) with the purpose of performing her own music theatre works. She composed, led, and acted as a performer in her own creations. Capdeville’s music theatre incorporates various artistic expressions such as dance, theatre, and cinema, resorting to different elements such as music, recorded sounds on tape, light, image, text, and movement, all structured as heterogeneous counterpoints. ColecViva’s activity also included seminars with discussions on aspects of performance and the group members shared their experiences with participants as an educational project. Although its activity has now ceased, ColecViva remains the only music theatre group to have existed in Portugal, with a lasting impact on those who were part of the group. It was also unique in the context of contemporary Portuguese music, as it sought to interpret a less widespread repertoire within a classical production style, revealing a connection with avant-garde aesthetics. This article aims to discuss ColecViva’s collaborative methods through an exploration of its educational activities, which influenced successive generations of performers who are now significant composers, performers (musicians, dancers, and actors), choreographers, directors, and musicologists.","PeriodicalId":44746,"journal":{"name":"Contemporary Music Review","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-09-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41632835","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"‘Ce désert est faux’: Thoughts on Restaging Constança Capdeville’s Scenic Works","authors":"António de Sousa Dias","doi":"10.1080/07494467.2023.2251312","DOIUrl":"https://doi.org/10.1080/07494467.2023.2251312","url":null,"abstract":"ABSTRACT The oeuvre of Constança Capdeville (1937–1992) includes a significant body of music theatre works that represent a challenge for restaging. The lack of systematic information makes it necessary for those who have worked with her to bequeath a living testimony of her work, whose conceptual approach represents an enrichment of the Portuguese musical panorama. ‘Ce désert est faux’—Constança Capdeville in memoriam (2012) is a music theatre performance based entirely on Capdeville’s music theatre works, proposing a stage production enacted in her spirit. In fact, from the choice of works and excerpts to be included in the performance to their distribution and staging, the main objective guiding this project aims to establish a context that would allow for Capdeville’s music theatre works to be experienced just as they were conceived. The strategies respecting Capdeville’s typical procedures are also discussed in this study.","PeriodicalId":44746,"journal":{"name":"Contemporary Music Review","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-09-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48296048","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Notes on the Stage Music of Jorge Peixinho: Contributions Towards a Dialogue Between Theatre and Music","authors":"Francisco Pessanha de Meneses","doi":"10.1080/07494467.2023.2246315","DOIUrl":"https://doi.org/10.1080/07494467.2023.2246315","url":null,"abstract":"ABSTRACT Jorge Peixinho (1940–1995) was one of the most significant Portuguese composers of the second half of the twentieth century. His work encompasses several genres but focuses, in particular, on avant-garde chamber music. Between 1964 and 1993, Peixinho collaborated with several theatre directors, composing music for their productions, as well as writing music for other genres such as performance art, ‘happenings’, and some of the most innovative mixed-media experiments in Portugal at the time. During this period, avant-garde theatre and music were two worlds that were mutually unaware of each other. Avant-garde theatrical productions sought to be in line with what was happening in Europe, but the musical accompaniment was neglected, just as it was in opera. In the Portuguese context, Jorge Peixinho’s contribution sought to fill this gap. This article seeks to contextualise Jorge Peixinho’s stage work and to compile a list of the shows for which the composer wrote music.","PeriodicalId":44746,"journal":{"name":"Contemporary Music Review","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41557104","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Meticulous Irreverence of José Lopes e Silva: Some Comments on Two Staged Works","authors":"Isabel Pires","doi":"10.1080/07494467.2023.2239681","DOIUrl":"https://doi.org/10.1080/07494467.2023.2239681","url":null,"abstract":"ABSTRACT This paper aims to highlight the originality and irreverence of José Lopes e Silva’s (1937–2019) music theatre works. Lopes e Silva was an exceptionally talented guitarist and an extremely inventive composer. However, while his work as a guitarist has received wide international recognition, his work as a composer has been largely overlooked and seems to be somewhat forgotten. Drawing on documents from the Lopes e Silva collection, we will discuss some of his compositional practices by focusing on two of his music theatre works, No Jardim das Delícias (1991–92) and Canticum Joviale (1993). These works belong to a trilogy inspired by a Hieronymus Bosch triptych. The first work, Tentações (1990), appears to be lost. We will examine in particular Lopes e Silva’s complex compositional strategies for articulating the various elements of these music theatre works. These elements include an electroacoustic layer that works as a general script, and to which everything is related (instrumental music, choreography, lighting, and so on); texts (poetry and prose) written by Lopes e Silva himself; different types of music reservoirs; meticulous instructions for improvisation; detailed schemes for dancing and acting; graphic scripts and scores.","PeriodicalId":44746,"journal":{"name":"Contemporary Music Review","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-08-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45444134","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Piano in the Portuguese Experimental Music Scene: Approaches, Contexts, and Practices","authors":"Alfonso Benetti, Francisco Monteiro","doi":"10.1080/07494467.2023.2243101","DOIUrl":"https://doi.org/10.1080/07494467.2023.2243101","url":null,"abstract":"ABSTRACT In Portugal, the avant-garde experimental approaches of the 1960s were fruitful for the emancipation of the sound potential of musical instruments and non-instruments. Since then, prepared techniques—the use of objects as sound producers, or in the context of extended techniques, electronics, and other processes of sound engagement—brought along the potential for rethinking and reformulating the piano and relationships between musical bodies. These prepared (extended) techniques were then acculturated, integrated, and somehow accommodated as a new normalisation, becoming in certain musical spheres the ‘new normal’. Connected to these approaches, new perspectives on experimentation with regard to the piano seem to be taking shape in Portugal, encompassing significant aesthetic, creative, and technical differences from the previous experimental vanguards. This study addresses the piano as a disruptive element in the current Portuguese experimental context, with regard to approaches, contexts, and practices. These disruptions are marked by an association with digital media resources, innovative performative perspectives, and the creation of different aesthetic outputs. However, this is an unconventional disruption—not a disruption related to the past, but an occasional disruption with the past. The objectives of the present study are to identify how the piano is treated by past experimentalists and as a contemporary technological artefact—including influences, techniques, languages, writing/recording materials, and the role of the performer—verifying the impact of its production, new conceptual transmutations, mapping composers and representative works, repertoires and formations, and the different roles assumed by the instrument.","PeriodicalId":44746,"journal":{"name":"Contemporary Music Review","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-08-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48714906","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}