Pub Date : 2023-08-04DOI: 10.1080/07494467.2023.2241236
Lee-Ching Cheng, I. Mcgregor
{"title":"Practices and Educational Affordances of Sound in the Postcolonial Hong Kong Protests","authors":"Lee-Ching Cheng, I. Mcgregor","doi":"10.1080/07494467.2023.2241236","DOIUrl":"https://doi.org/10.1080/07494467.2023.2241236","url":null,"abstract":"","PeriodicalId":44746,"journal":{"name":"Contemporary Music Review","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-08-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44040770","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}
Pub Date : 2023-08-02DOI: 10.1080/07494467.2023.2238157
Noah Leininger
{"title":"Soviet Sounds, Communist Pedagogy: Lessons for Today’s Musicians, Organisers, Educators","authors":"Noah Leininger","doi":"10.1080/07494467.2023.2238157","DOIUrl":"https://doi.org/10.1080/07494467.2023.2238157","url":null,"abstract":"","PeriodicalId":44746,"journal":{"name":"Contemporary Music Review","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-08-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42588578","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}
Pub Date : 2023-08-01DOI: 10.1080/07494467.2023.2234182
Andreia Nogueira
ABSTRACT Miguel and Paula Azguime are prominent figures in the contemporary art realm with a significant track record of interconnecting sound, text, poetry, movement, video, and live electronics. Together, they founded a new concept/project entitled New Op-Era that introduced a multimedia and creative collaboration in which the music and text of Miguel Azguime coexist with the staging and video composition of Paula Azguime in a truly symbiotic and innovative format. This paper examines whether the New Op-Era concept constitutes a new form of music theatre by reflecting upon the multimedia and electroacoustic opera Salt Itinerary created by Miguel and Paula Azguime between 1999 and 2006. This one-hour-long piece combines live audio and video processing along with an artistic, vocal, and theatrical performance by the composer himself to produce an extraordinary visual and sound experience that transcends traditional artistic conventions and crosses the boundaries prevailing between music, theatre, opera, performance, new media art, and sound poetry.
{"title":"Miguel and Paula Azguime and the New Op-Era","authors":"Andreia Nogueira","doi":"10.1080/07494467.2023.2234182","DOIUrl":"https://doi.org/10.1080/07494467.2023.2234182","url":null,"abstract":"ABSTRACT Miguel and Paula Azguime are prominent figures in the contemporary art realm with a significant track record of interconnecting sound, text, poetry, movement, video, and live electronics. Together, they founded a new concept/project entitled New Op-Era that introduced a multimedia and creative collaboration in which the music and text of Miguel Azguime coexist with the staging and video composition of Paula Azguime in a truly symbiotic and innovative format. This paper examines whether the New Op-Era concept constitutes a new form of music theatre by reflecting upon the multimedia and electroacoustic opera Salt Itinerary created by Miguel and Paula Azguime between 1999 and 2006. This one-hour-long piece combines live audio and video processing along with an artistic, vocal, and theatrical performance by the composer himself to produce an extraordinary visual and sound experience that transcends traditional artistic conventions and crosses the boundaries prevailing between music, theatre, opera, performance, new media art, and sound poetry.","PeriodicalId":44746,"journal":{"name":"Contemporary Music Review","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42162389","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}
Pub Date : 2023-04-17DOI: 10.1080/07494467.2023.2196649
Wiebe Koopal, Thomas De Baets, J. Vlieghe
{"title":"Deine Zauber binden wieder, was die Mode streng geteilt … Conducting Beethoven’s Ninth as a Case of Public Music Education","authors":"Wiebe Koopal, Thomas De Baets, J. Vlieghe","doi":"10.1080/07494467.2023.2196649","DOIUrl":"https://doi.org/10.1080/07494467.2023.2196649","url":null,"abstract":"","PeriodicalId":44746,"journal":{"name":"Contemporary Music Review","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-04-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45648212","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}
Pub Date : 2023-02-16DOI: 10.1080/07494467.2023.2165766
Simone Sparks
{"title":"Reading Queer Continuums in Gymnopédie No. 3: A Conversation with Satie, and Cage, and Me (and You)","authors":"Simone Sparks","doi":"10.1080/07494467.2023.2165766","DOIUrl":"https://doi.org/10.1080/07494467.2023.2165766","url":null,"abstract":"","PeriodicalId":44746,"journal":{"name":"Contemporary Music Review","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-02-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49110768","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}
Pub Date : 2023-01-02DOI: 10.1080/07494467.2023.2193090
K. Doyle, Agnese Toniutti
ABSTRACT The musical score can be a site for dynamic exchange between performance and analysis, a place for conversation about material and meaning. As is typical in conversation, conundrums or disagreements generate new ideas and new forms; problems become possibilities. Such is the case in navigating the scores of Lucia Dlugoszewski, who sought radical ways to produce and notate sound forms from around 1950 until her death in 2000. This article is not intended to serve as a survey of Dlugoszewski’s work but to document an exploration of the role that dialogue plays when performing and analysing musical repertoires. Its two authors will perform an excerpt of an ongoing dialogue about the challenges of navigating Dlugoszewski’s innovative scores. A circularity emerges as every potential solution is performed, evaluated, and questioned anew; through this cycle, analysis and performance become a unified, continual process. A thesis emerges from the dialogue: Dlugoszewski’s scores are a documentation of logic that is not present as much as one that is, a kind of notation in reverse, an ideal realised through performance at the edge of practical execution.
{"title":"Problem as Possibility: A Dialogue about Performance and Analysis with Lucia Dlugoszewski’s Experimental Notation as Case Study","authors":"K. Doyle, Agnese Toniutti","doi":"10.1080/07494467.2023.2193090","DOIUrl":"https://doi.org/10.1080/07494467.2023.2193090","url":null,"abstract":"ABSTRACT The musical score can be a site for dynamic exchange between performance and analysis, a place for conversation about material and meaning. As is typical in conversation, conundrums or disagreements generate new ideas and new forms; problems become possibilities. Such is the case in navigating the scores of Lucia Dlugoszewski, who sought radical ways to produce and notate sound forms from around 1950 until her death in 2000. This article is not intended to serve as a survey of Dlugoszewski’s work but to document an exploration of the role that dialogue plays when performing and analysing musical repertoires. Its two authors will perform an excerpt of an ongoing dialogue about the challenges of navigating Dlugoszewski’s innovative scores. A circularity emerges as every potential solution is performed, evaluated, and questioned anew; through this cycle, analysis and performance become a unified, continual process. A thesis emerges from the dialogue: Dlugoszewski’s scores are a documentation of logic that is not present as much as one that is, a kind of notation in reverse, an ideal realised through performance at the edge of practical execution.","PeriodicalId":44746,"journal":{"name":"Contemporary Music Review","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43376635","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}
Pub Date : 2023-01-02DOI: 10.1080/07494467.2023.2199246
B. Duinker
Performance issues have engaged the discipline of music theory and analysis for as long as this discipline has been institutionalised in Europe and North America. Such lasting engagement has culminated in several seminal publications over the past few decades, among them Nicholas Cook’s Beyond the Score (2013), Daphne Leong’s Performing Knowledge (2019), and Philip Auslander’s In Concert (2021). Taken together, these publications (and others) have encouraged analytical looks beyond the score, attention to the experience of performers themselves, and consideration of musical/performative acts beyond sound itself. Having travelled far from the era where theorists and musicologists wrote prescriptively to ‘diagnose and cure the performer’s “malady”’ (Latham 2005, 137), we now experience a landscape where bilateral exchange between performing musicians and music theorists/musicologists generates provoking avenues of discussion, which can be formulated as broad questions. How can the concerns, choices, and pursuits of music performance and music analysis inform one another? And what sites of intersection provide promise for collaborative research between music theorists, musicologists, composers, and performers? To explore these questions, the Faculty of Music at the University of Toronto hosted the inaugural symposium Dialogues: Analysis and Performance in October 2021. The symposium convened artists and scholars, spurring interdisciplinary dialogue on topics such as structural analysis, criticism, interpretation, technology, performance practice, and embodied knowledge. Presenters responded to a call for proposals that situated analysis and performance as distinct but related activities, with a specific focus on contemporary music and musical practices. What quickly became apparent among the accepted presentations, however, was that for many artist/scholars specialising in contemporary music, analysis and performance are essentially inseparable, if not entirely one and the same. What began as a symposium seeking to uncover shared strategies for two distinct pursuits—analysis and performance— became a forum on how those pursuits are tightly connected through a network of elements: score, instrument, performer, and environment. The seven articles presented in this special issue reflect this inseparable network. As such, two prevailing themes emerge through the articles. The acts of analysis and performance are often indistinguishable. Many artists and scholars whose research connects performance and analysis might argue that one is not fully defined without consideration of the other. The work presented here goes even further, suggesting that one cannot fully exist without the other. Timothy Roth’s article on the reconstruction of obsolete technology to perform Stockhausen’s Mikrophone I (1964) foregrounds the analytical detail required to perform this work today, when the composer’s preferred sound filter is not readily available. Roth argues that, i
{"title":"Engaging Analysis and Performance","authors":"B. Duinker","doi":"10.1080/07494467.2023.2199246","DOIUrl":"https://doi.org/10.1080/07494467.2023.2199246","url":null,"abstract":"Performance issues have engaged the discipline of music theory and analysis for as long as this discipline has been institutionalised in Europe and North America. Such lasting engagement has culminated in several seminal publications over the past few decades, among them Nicholas Cook’s Beyond the Score (2013), Daphne Leong’s Performing Knowledge (2019), and Philip Auslander’s In Concert (2021). Taken together, these publications (and others) have encouraged analytical looks beyond the score, attention to the experience of performers themselves, and consideration of musical/performative acts beyond sound itself. Having travelled far from the era where theorists and musicologists wrote prescriptively to ‘diagnose and cure the performer’s “malady”’ (Latham 2005, 137), we now experience a landscape where bilateral exchange between performing musicians and music theorists/musicologists generates provoking avenues of discussion, which can be formulated as broad questions. How can the concerns, choices, and pursuits of music performance and music analysis inform one another? And what sites of intersection provide promise for collaborative research between music theorists, musicologists, composers, and performers? To explore these questions, the Faculty of Music at the University of Toronto hosted the inaugural symposium Dialogues: Analysis and Performance in October 2021. The symposium convened artists and scholars, spurring interdisciplinary dialogue on topics such as structural analysis, criticism, interpretation, technology, performance practice, and embodied knowledge. Presenters responded to a call for proposals that situated analysis and performance as distinct but related activities, with a specific focus on contemporary music and musical practices. What quickly became apparent among the accepted presentations, however, was that for many artist/scholars specialising in contemporary music, analysis and performance are essentially inseparable, if not entirely one and the same. What began as a symposium seeking to uncover shared strategies for two distinct pursuits—analysis and performance— became a forum on how those pursuits are tightly connected through a network of elements: score, instrument, performer, and environment. The seven articles presented in this special issue reflect this inseparable network. As such, two prevailing themes emerge through the articles. The acts of analysis and performance are often indistinguishable. Many artists and scholars whose research connects performance and analysis might argue that one is not fully defined without consideration of the other. The work presented here goes even further, suggesting that one cannot fully exist without the other. Timothy Roth’s article on the reconstruction of obsolete technology to perform Stockhausen’s Mikrophone I (1964) foregrounds the analytical detail required to perform this work today, when the composer’s preferred sound filter is not readily available. Roth argues that, i","PeriodicalId":44746,"journal":{"name":"Contemporary Music Review","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46360550","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}
Pub Date : 2023-01-02DOI: 10.1080/07494467.2023.2228601
Eliot Britton, David Arbez, P. Hart, Kevin McPhillips
ABSTRACT Home Comfort Advisor is a collaborative composition for online choir, presented by the fictional corporation ‘Quigital’. This paper details the work's co-opting of corporate aesthetics, analysis, productivity, design strategies and their implications in musical language, collaboration, performer agency and audience reception. The resulting choir performance masquerades as an interactive online product launch, making unconventional analytical demands on individual choir members as singers, community members, distributed decision makers and content creators. To manage the logistical challenges presented by an interdisciplinary collaboration featuring 70 agents and a creative development team, linear approaches to composition were replaced by a modified iterative design loop. (Collaborative creation analysis (re)-interpretation interactive audience engagement: repeat/deploy:). More specifically, this paper examines emergent materials, structures and processes used to amplify collaboration. Home Comfort Advisor's deeply embedded corporate aesthetic and technological infrastructure reveals novel interactions between the score, text, code, design assets, analysist and performer. An analysis of the non-linear, collaborative relationships provides a model for creating similar data-driven, interdisciplinary collaborations. Quigital's manipulation of a mutually understood code hidden in plain sight approaches what Limor Shifman refers to as hypersignification. This cultivation of technologically amplified, collaborative metanarrative lies at the heart of Quigital's success and its ability to be both approachable, subversive and deeply disturbing.
{"title":"Performing Corporate Culture: Analysing Meta-Narratives and Online Interactivity Through Quigital","authors":"Eliot Britton, David Arbez, P. Hart, Kevin McPhillips","doi":"10.1080/07494467.2023.2228601","DOIUrl":"https://doi.org/10.1080/07494467.2023.2228601","url":null,"abstract":"ABSTRACT Home Comfort Advisor is a collaborative composition for online choir, presented by the fictional corporation ‘Quigital’. This paper details the work's co-opting of corporate aesthetics, analysis, productivity, design strategies and their implications in musical language, collaboration, performer agency and audience reception. The resulting choir performance masquerades as an interactive online product launch, making unconventional analytical demands on individual choir members as singers, community members, distributed decision makers and content creators. To manage the logistical challenges presented by an interdisciplinary collaboration featuring 70 agents and a creative development team, linear approaches to composition were replaced by a modified iterative design loop. (Collaborative creation analysis (re)-interpretation interactive audience engagement: repeat/deploy:). More specifically, this paper examines emergent materials, structures and processes used to amplify collaboration. Home Comfort Advisor's deeply embedded corporate aesthetic and technological infrastructure reveals novel interactions between the score, text, code, design assets, analysist and performer. An analysis of the non-linear, collaborative relationships provides a model for creating similar data-driven, interdisciplinary collaborations. Quigital's manipulation of a mutually understood code hidden in plain sight approaches what Limor Shifman refers to as hypersignification. This cultivation of technologically amplified, collaborative metanarrative lies at the heart of Quigital's success and its ability to be both approachable, subversive and deeply disturbing.","PeriodicalId":44746,"journal":{"name":"Contemporary Music Review","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49553366","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}
Pub Date : 2023-01-02DOI: 10.1080/07494467.2023.2225887
Timothy Roth
This article outlines analytical methods for preparing and interpreting Karlheinz Stockhausen’s sextet Mikrophonie I (1964) for tam-tam and electronics. Would-be performers of this work face significant accessibility issues: Stockhausen’s recommended equipment—especially the electronic filter used to process the tam-tam’s sound—is extremely rare. These issues often necessitate performers finding alternative solutions for equipment. Mikrophonie I is one of several works for live electronics that have become increasingly difficult to program, due to the obsolescence of the technology required to perform them. Performers often reconstruct the necessary electronics digitally, using software such as Max/MSP. Wetzel [(2006). “A Model for the Conservation of Interactive Electroacoustic Repertoire: Analysis, Reconstruction, and Performance in the Face of Technological Obsolescence.” Organised Sound 11 (3): 273–284. https://doi.org/10.1017/S1355771806001555] describes a three-stage model for this reconstructive process that foregrounds the need for performer-led analysis. Using Mikrophonie I as a case study, I expand on Wetzel’s model to navigate the reconstruction through two main analytical perspectives: the prioritisation of sound or process. These methods are then applied to my realisation process of Mikrophonie I. I describe the process of constructing a digital filter in Max/MSP based on a patch created by Christopher Burns [(2002). “Realizing Lucier and Stockhausen: Case Studies in the Performance Practice of Electroacoustic Music.” Journal of New Music Research 31 (1): 59–68. https://doi.org/10.1076/jnmr.31.1.59.8104] and compare different interface options for using the filter in performance. Referring to previous recordings by the Stockhausen Ensemble (1965) and the percussion ensemble red fish blue fish (2014), I show how creative interpretations can help ensembles overcome the perceived shortcomings of their available tam-tam. Beyond the specifics of reconstructing the technology required for performing Mikrophonie I, this article underlines the indispensability of analysis for performers who specialise in works with obsolescent technology.
{"title":"Navigating Technological Obsolescence: Analysis and Reconstruction of Stockhausen’s Mikrophonie I","authors":"Timothy Roth","doi":"10.1080/07494467.2023.2225887","DOIUrl":"https://doi.org/10.1080/07494467.2023.2225887","url":null,"abstract":"This article outlines analytical methods for preparing and interpreting Karlheinz Stockhausen’s sextet Mikrophonie I (1964) for tam-tam and electronics. Would-be performers of this work face significant accessibility issues: Stockhausen’s recommended equipment—especially the electronic filter used to process the tam-tam’s sound—is extremely rare. These issues often necessitate performers finding alternative solutions for equipment. Mikrophonie I is one of several works for live electronics that have become increasingly difficult to program, due to the obsolescence of the technology required to perform them. Performers often reconstruct the necessary electronics digitally, using software such as Max/MSP. Wetzel [(2006). “A Model for the Conservation of Interactive Electroacoustic Repertoire: Analysis, Reconstruction, and Performance in the Face of Technological Obsolescence.” Organised Sound 11 (3): 273–284. https://doi.org/10.1017/S1355771806001555] describes a three-stage model for this reconstructive process that foregrounds the need for performer-led analysis. Using Mikrophonie I as a case study, I expand on Wetzel’s model to navigate the reconstruction through two main analytical perspectives: the prioritisation of sound or process. These methods are then applied to my realisation process of Mikrophonie I. I describe the process of constructing a digital filter in Max/MSP based on a patch created by Christopher Burns [(2002). “Realizing Lucier and Stockhausen: Case Studies in the Performance Practice of Electroacoustic Music.” Journal of New Music Research 31 (1): 59–68. https://doi.org/10.1076/jnmr.31.1.59.8104] and compare different interface options for using the filter in performance. Referring to previous recordings by the Stockhausen Ensemble (1965) and the percussion ensemble red fish blue fish (2014), I show how creative interpretations can help ensembles overcome the perceived shortcomings of their available tam-tam. Beyond the specifics of reconstructing the technology required for performing Mikrophonie I, this article underlines the indispensability of analysis for performers who specialise in works with obsolescent technology.","PeriodicalId":44746,"journal":{"name":"Contemporary Music Review","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48836957","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}
Pub Date : 2023-01-02DOI: 10.1080/07494467.2023.2191070
Jodie Rottle, Hannah Reardon-Smith
ABSTRACT We understand that our thinking and creating is always in company. By musicking with others, we situate ourselves amongst an entangled web of human, nonhuman, and more-than-human co-creators; to recognise these external and internal influences is to become a companion. Our concept of companion thinking stems from companion texts according to Sara Ahmed (2017. Living a Feminist Life. Durham, NC: Duke University Press), which may ‘prompt you to hesitate or to question the direction in which you are going, or they might give you a sense that in going the way you are going, you are not alone’ (16). Companionship implies with: In this paper, we discuss how companions are vital to our improvisatory music practices by considering the co-creative relationships in which we operate. we analyse our artistic research from our perspectives as performers and improvisers and consider the processes of making music with beyond-human entities. Instead of the human-focused concept of collaboration, we posit companionship as an approach to thinking-with and sounding-with the more-than-human, other-than-human, and nonhuman. Our former selves, experiences, environments, and nonhuman critters and objects are always-already part of our musicking practices and communities. Performance is thus ecological, political, and personal; it is through this lens that we analyse the entanglements of our varied communities and explore how this concept can stretch beyond a music practice, to consider what it means to engage in creative practice as migrant-settlers on stolen Aboriginal land. This paper includes an investigation of what it means to be a companion and a discussion of a practice-based case study in which we implement—or practice—companion thinking. As friends, collaborators, and companions to one another, we each present our individual concepts of companionship through our own improvisation practices, addressing themes of situatedness, response-ability, surprise, stumbling, curiosity, and unmastery. We then analyse the entanglements of our work in performance. This process of thinking, making, and doing in-company offers the opportunity to consider an intersection of analysis and performance through an improvisatory musical practice.
{"title":"Companion Thinking in Improvised Musicking Practice","authors":"Jodie Rottle, Hannah Reardon-Smith","doi":"10.1080/07494467.2023.2191070","DOIUrl":"https://doi.org/10.1080/07494467.2023.2191070","url":null,"abstract":"ABSTRACT We understand that our thinking and creating is always in company. By musicking with others, we situate ourselves amongst an entangled web of human, nonhuman, and more-than-human co-creators; to recognise these external and internal influences is to become a companion. Our concept of companion thinking stems from companion texts according to Sara Ahmed (2017. Living a Feminist Life. Durham, NC: Duke University Press), which may ‘prompt you to hesitate or to question the direction in which you are going, or they might give you a sense that in going the way you are going, you are not alone’ (16). Companionship implies with: In this paper, we discuss how companions are vital to our improvisatory music practices by considering the co-creative relationships in which we operate. we analyse our artistic research from our perspectives as performers and improvisers and consider the processes of making music with beyond-human entities. Instead of the human-focused concept of collaboration, we posit companionship as an approach to thinking-with and sounding-with the more-than-human, other-than-human, and nonhuman. Our former selves, experiences, environments, and nonhuman critters and objects are always-already part of our musicking practices and communities. Performance is thus ecological, political, and personal; it is through this lens that we analyse the entanglements of our varied communities and explore how this concept can stretch beyond a music practice, to consider what it means to engage in creative practice as migrant-settlers on stolen Aboriginal land. This paper includes an investigation of what it means to be a companion and a discussion of a practice-based case study in which we implement—or practice—companion thinking. As friends, collaborators, and companions to one another, we each present our individual concepts of companionship through our own improvisation practices, addressing themes of situatedness, response-ability, surprise, stumbling, curiosity, and unmastery. We then analyse the entanglements of our work in performance. This process of thinking, making, and doing in-company offers the opportunity to consider an intersection of analysis and performance through an improvisatory musical practice.","PeriodicalId":44746,"journal":{"name":"Contemporary Music Review","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49329895","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}
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