Craenen, P: Composing under the Skin

01. Auflage 2014
ISBN: 978-90-5867-974-1
Verlag: Leuven University Press

Buch, Englisch, 284 Seiten, Format (B × H): 191 mm x 285 mm, Gewicht: 900 g

Reihe: Orpheus Institute Series

A revealing study of the physical presence of the musician in musical performance. Fingers slipping over guitar strings, the tap of a bow against the body of a cello, a pianist humming along to the music: contemporary composers often work with parasitic, non-conventional sounds such as these. Are they to be perceived as musical elements or do they shift attention to the physical effort of music-making, contact between a body and an instrument? Composer Paul Craenen explores ways in which the musician’s body is revealed in musical performance. He leads us from Cage, Lachenmann, Kagel and their contemporaries to a discussion of how today's generation of young composers is writing a body paradigm into composition itself. Micro-temporal physical gestures and instrumental timbre provide the key to unveiling the physical presence of both a musician and a ‘composing body’. The author's concept of ‘intercorporeality’, along with the idea of an alternating linear and non-linear relationship of the composing body to time, casts new light on the relationship between musicians, composers, and music consumers.

This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).

Autoren/Hrsg.

Craenen, Paul

Fachgebiete

• Geisteswissenschaften Musikwissenschaft Musikwissenschaft Allgemein Musiktheorie, Musikästhetik, Kompositionslehre

Inhaltsverzeichnis

Introduction
Chapter I: Music from Here and ThereMetamorphosis of the Sounding Space
Music in the World
The Space surrounding the MusicThe Space for the MusicThe Space of the Music
Music from Here and ThereEye and EarMusic from SomewherePoints, Lines, SpheresResonanceDisciplineResistanceInterruptionConcrete Music, Moving SoundMusic from ThereMusic from HereTravelling between Here, There, and Somewhere
Chapter II: The Body ResoundsThe Silent BodyCollective TensionSpatial Frustration
The Sounding BodyInstrumental TheatreContact Microphones and EEGsBetween the Abstract and the ConcreteThe Voice Exposed
A Concrete TurnIdeology, Rediscovery, ExperimentAudible ProcessesSound ArtMusique concrèteMusique concrète instrumentaleAmbivalences
Chapter III: Composed InstrumentsA Mediated RelationshipThe Ecology of HearingThe Dynamics of Resonant Presence
The Instrumental ExtensionAn Invisible InstrumentIsolation and SelectionInspiring Effort
Playing Technique and MusicalityThe Virtuoso Body
Instrumental Thinking
Music-Making as PerformanceInstrumental IntentionsInstrumental Imagination
Instrumental IdentityStriking and BowingBowingStrikingSeeing, Hearing, FeelingMirroring the Strike, Voicing the InstrumentEnacting and SubvocalisingMulti-modal GesturePlucking
The Point and the Line
Sequenza V“Why?”The Trombone as PercussionPercussive SilenceSequenza V, Section B
Composed InstrumentsDynamic Identity
Chapter IV: The Composed BodyThe Composer's PerspectiveAn Impossible ObjectAccess to the Body
Compositional StrategiesRevealingEnlargingSynchronisingDemonstratingConceptualisingProjectingInfectingInteracting
Linearity versus NonlinearityPatchworksFrom Composition to Design
The Composing BodyThe Writing BodyThe Signature of the Composing BodyThe Body's TouchThe “Now” of Timbre
The Body as a Strategic Zero Point—Beyond the BodyThe Body as a FilterThe Body as MemoryKinaesthetic ExplorationsBeyond the Body
RefencesIndexAbout the author

Über Autor(innen)

Craenen, Paul
Paul Craenen obtained a PhD in the arts at Leiden University in 2011 (docARTES Programme). He is director of Musica, Impulse Centre for Music.