Contemporary Music Review最新文献_第6页

Pacing, Performance, and Perception in Alice Ping Yee Ho’s Angst 何《Angst》中的踱步、表演与感知

IF 0.4 2区艺术学

Contemporary Music Review Pub Date : 2023-01-02 DOI: 10.1080/07494467.2023.2227507

Hannah Davis-Abraham

{"title":"Pacing, Performance, and Perception in Alice Ping Yee Ho’s Angst","authors":"Hannah Davis-Abraham","doi":"10.1080/07494467.2023.2227507","DOIUrl":"https://doi.org/10.1080/07494467.2023.2227507","url":null,"abstract":"ABSTRACT This paper examines how performer decisions regarding musical pacing and expressive timing can shape the communication of affective states in a musical work, through a case study of Angst (Ho, Alice Ping Yee. 2000. Angst. Canadian Music Centre), composed by Alice Ping Yee Ho and premiered by soprano Janice Jackson. Described by Ho as a ‘reaction to the myth of the inferiority of women’, this work for solo soprano ‘express[es] the fear and anxiety that women encounter’. Angst includes fluctuating time signatures, long-held notes of varying durations, and recurring motives that enter at unpredictable times, which, when combined, can complicate a listener's ability to discern consistent metre and/or predict future musical events. Using a video recording of Angst, I examine how Jackson's performance conveys the anxiety expressed by the protagonist. I draw on Danuta Mirka's adaptation (Mirka, Danuta. 2009. Metric Manipulations in Haydn and Mozart: Chamber Music for Strings, 1787–1791. Oxford: Oxford University Press) of Ray Jackendoff's parallel multiple-analysis model for determining metre (Jackendoff, Ray. 1991. “Musical Parsing and Musical Affect.” Music Perception 9 (2): 199-230), David Huron's theory of musical expectation (Huron, David. 2006. Sweet Anticipation: Music and the Psychology of Expectation. Cambridge, MA: MIT Press), and Austin Patty's pacing scenarios (Patty, Austin T. 2009. “Pacing Scenarios: How Harmonic Rhythm and Melodic Pacing Influence Our Experience of Musical Climax.” Music Theory Spectrum 31 (2): 325-367), and I expand on this work by discussing the affective impact of pacing. I suggest that Jackson's performance of Ho's score creates a confounding listening experience that reflects the work's themes of anxiety, fear, and realisation of power.","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":"41877347","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}

引用次数: 0

The Quality of the Relational—Challenges in a Triangulated Analysis of ‘Theatre-Musicking’ in German Contemporary Theatre 关系的质量——德国当代戏剧“戏剧音乐”三角分析中的挑战

IF 0.4 2区艺术学

Contemporary Music Review Pub Date : 2023-01-02 DOI: 10.1080/07494467.2023.2191066

Tamara Yasmin Quick

{"title":"The Quality of the Relational—Challenges in a Triangulated Analysis of ‘Theatre-Musicking’ in German Contemporary Theatre","authors":"Tamara Yasmin Quick","doi":"10.1080/07494467.2023.2191066","DOIUrl":"https://doi.org/10.1080/07494467.2023.2191066","url":null,"abstract":"ABSTRACT Musicians and sound designers appear with increasing frequency on the cast lists of contemporary theatre productions. They develop music during the rehearsal process, making it an almost indispensable part of theatrical productions—in the form of songs or instrumental music, produced live on stage in the performative process as a theatrical action, or digitally pre-produced. As part of the staging concept, these musical outputs have a direct impact on the scenic realisation of a play. Contrasting the abundance and relevance of contemporary theatre music (especially in the German-speaking world), is its paucity in academic discourse. This paucity begets a lack of analytical tools to sensitively engage with this creative artistic practice. This article summarises the appeal of, and the challenges inherent in, the analysis and interpretation of current theatre music and proposes a rethinking of theatre music from its status as incidental music to a specific quality as relational music (Roesner [2019]. Theatermusik. Analysen und Gespräche. Berlin: Theater der Zeit), since theatre music as a contemporary artistic practice demands to be analysed in terms of its theatrical and performative impact on a theatre production. As a result of this characteristic scenic component of current theatre music I present a triangulated system of analysis, comprising performance analysis, ethnographic rehearsal analysis and practice as research against the backdrop of scholarly discourse on ‘music as performance’ (Cook [2014]. Beyond the Score: Music as Performance. Oxford / New York: Oxford University Press; Auslander [2004]. “Performance Analysis and Popular Music: A Manifesto.” Contemporary Theatre Review 14: 1–13; Small [1998]. Musicking: The Meanings of Performing and Listening. Music, Culture. Hanover: Wesleyan University Press / University Press of New England).","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":"48830023","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}

引用次数: 0

Game Play and Gestalt: Analysing Christian Wolff’s Alternative Notation from the Performers’ Perspectives 游戏与格式塔：从表演者的角度分析克里斯蒂安·沃尔夫的另类符号

IF 0.4 2区艺术学

Contemporary Music Review Pub Date : 2023-01-02 DOI: 10.1080/07494467.2023.2225888

Jessica Stearns

{"title":"Game Play and Gestalt: Analysing Christian Wolff’s Alternative Notation from the Performers’ Perspectives","authors":"Jessica Stearns","doi":"10.1080/07494467.2023.2225888","DOIUrl":"https://doi.org/10.1080/07494467.2023.2225888","url":null,"abstract":"ABSTRACT In his indeterminate works that he refers to as ‘alternatively notated scores’, Christian Wolff grants the performer decision-making powers. This notation includes symbols known as coordination neumes, which instruct the performers when to begin and end a sound event in relation to the sounds around them, and produce game play between performers. Scholars have discussed the interactive nature of Wolff’s scores but have not addressed the procedure of reading the notation in performance and how it impacts the game play inherent in these works. I argue that the most fruitful approaches indeterminate music is to examine the experience of performing pieces. Gestalt psychology’s Principles of Organisation offer one means of understanding these works from the performers’ perspectives. When applied to two of Wolff’s alternatively notated scores, For 5 or 10 Players and For 1, 2, or 3 People, as an analytical approach, Gestalt principles reveal a conflict between the temporal spacing that the notation’s visual elements imply and the temporal spacing in performance as a result of the pieces’ ludic nature. Uncovering these features adds a new dimension to the analytic discussion of Wolff’s music and furthers our understanding of the processes involved in performing his scores and indeterminate music.","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":"41659993","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}

引用次数: 0

Building a Personal Artistic Identity as a Tribute to One’s ‘Heroes’: Vlastimir Trajković’s ‘Le Tombeau de la Bonne Musique’ 以个人艺术身份向“英雄”致敬:弗拉斯季米尔·特拉伊科维奇的《Bonne Musique的墓碑》

IF 0.4 2区艺术学

Contemporary Music Review Pub Date : 2022-11-02 DOI: 10.1080/07494467.2022.2189355

Jelena Janković-Beguš

引用次数: 1

Byzantium as a Metaphor for Identity in Serbian Music 在塞尔维亚音乐中作为身份隐喻的拜占庭

IF 0.4 2区艺术学

Contemporary Music Review Pub Date : 2022-11-02 DOI: 10.1080/07494467.2022.2151155

Melita Milin

引用次数: 0

Serbian Musical Identity in Sacred Music from Stevan Mokranjac to Marko Tajčević 从Stevan Mokranjac到Marko Tajčević神圣音乐中的塞尔维亚音乐身份

IF 0.4 2区艺术学

Contemporary Music Review Pub Date : 2022-11-02 DOI: 10.1080/07494467.2022.2147693

I. Moody

引用次数: 0

Legal Aliens: Serbian Composers in Western Europe Today 合法外国人：今日西欧的塞尔维亚作曲家

IF 0.4 2区艺术学

Contemporary Music Review Pub Date : 2022-11-02 DOI: 10.1080/07494467.2022.2152217

I. Medić

引用次数: 2

Rajko Maksimović and the ‘Polish School’: A Case-Study of Tri Haiku Rajko Maksimović与“波兰学派”——以Tri Haiku为例

IF 0.4 2区艺术学

Contemporary Music Review Pub Date : 2022-11-02 DOI: 10.1080/07494467.2022.2152207

I. Lindstedt

{"title":"Rajko Maksimović and the ‘Polish School’: A Case-Study of Tri Haiku","authors":"I. Lindstedt","doi":"10.1080/07494467.2022.2152207","DOIUrl":"https://doi.org/10.1080/07494467.2022.2152207","url":null,"abstract":"While the so-called Polish School of the 1960s has received considerable attention in musicological literature, there has been little consideration to date of how this phenomenon might relate to the avant-garde music of other European countries, particularly those on the eastern side of the Iron Curtain. Although there has been much debate about how to define and evaluate the ‘Polish School’, the question of its impact has largely focused on emphasising the significance of its institutional basis, represented by the Warsaw Autumn Festival, as well as on aesthetic matters. This article considers a number of issues relevant to Polish avant-garde compositional devices and offers an insight into Serbian new music of the 1960s through an examination of Rajko Maksimović’s Tri haiku for two female choirs & 23 instruments (1967) as a case study. The aim is to assess how these presumed ‘Polish School’ influences contributed to the overall and detailed musical design of Tri haiku, as well as how their creative reception led to the emergence of a highly individual character in this composition, contributing to the shaping of the identity of Serbian avant-garde music at that time. The conceptual and analytical tools proposed by Józef M. Chomiński’s theory of musical sonology will be used for this purpose.","PeriodicalId":44746,"journal":{"name":"Contemporary Music Review","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-11-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48812624","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}

引用次数: 0

The South Slav ‘Golden Age’ and Gender Representation in Music 南方斯拉夫人的“黄金时代”与音乐中的性别代表

IF 0.4 2区艺术学

Contemporary Music Review Pub Date : 2022-11-02 DOI: 10.1080/07494467.2022.2147691

Verica Grmuša

{"title":"The South Slav ‘Golden Age’ and Gender Representation in Music","authors":"Verica Grmuša","doi":"10.1080/07494467.2022.2147691","DOIUrl":"https://doi.org/10.1080/07494467.2022.2147691","url":null,"abstract":"This paper explores the gender representation of the Kosovo Myth by South Slav composers at the turn of the twentieth century in the context of the creation of Serbian and pan-Yugoslav identities. The Kosovo Myth emerged not long after the Battle of Kosovo in 1389, waged between predominantly Serbian forces and the Ottoman Turkish army. However, the event assumed major significance only in the nineteenth century, during which the medieval period became the ‘Golden Age’ for nationalist aspirations. Held in Serbian collective memory as a fateful defeat that led to the loss of independence, the Battle of Kosovo became the region’s ‘sacred place’. Drawing from the body of epic poetry, referred to as The Kosovo Cycle, late nineteenth-century South Slav composers relied on male heroes as their subjects, as evident in their choral compositions and local Singspiels. This paper explores the shift from old forms and the ‘heroic’ male characters to female figures in the Kosovo Myth, as evident in early twentieth-century music. The fictional characters Kosovka devojka [The Maiden of Kosovo] and Majka Jugovića [The Jugović Mother] represented the highest ideal of family values, affirmative of a patriarchal construction of femininity. While both characters offered the South Slav composers a narrative focused on universal family values rather than individual ethnic histories that could facilitate crossing ethnic boundaries, the Jugović Mother emerged as the region’s universal inspiration; the choice of a maternal figure rather than a young woman confirms the practice of attributing women, traditionally viewed as inferior to men, a positive value through the concept of motherhood. Extending its scope to female characters outside of The Kosovo Cycle, this paper opens a debate on gender representation in music of the South Slav region beyond the national discourse.","PeriodicalId":44746,"journal":{"name":"Contemporary Music Review","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2022-11-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44344380","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}

引用次数: 1

Beyond the Divide: The Different New Music Festival in Belgrade (1984–1986) 超越鸿沟:贝尔格莱德不同的新音乐节(1984-1986)

IF 0.4 2区艺术学

Contemporary Music Review Pub Date : 2022-11-02 DOI: 10.1080/07494467.2022.2182529

Ivana Miladinović Prica

引用次数: 3