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Austerity Measures I: performing the discursive voice
Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.ORCID iD: 0000-0002-4704-5420
Royal Academy of Music, London.ORCID iD: 0000-0002-9282-0975
2019 (English)In: Voices, Bodies, Practices / [ed] Catherine Laws, William Brooks, David Gorton, Thanh Thủy Nguyễn, Stefan Östersjö, and Jeremy J. Wells., Leuven: Leuven University Press , 2019Chapter in book (Refereed)
Abstract [en]

This chapter approaches the question of subjectivity in the musical practice of composer and performer through a discussion of the emergence of ‘voice’. Part 1 describes a theoretical model by which the subjectivities of performer and composer can be understood in terms of this emergence, arguing that a musician’s ‘voice’ is continually defined through interaction with cultural and psychological tools, such as scores, compositional systems, and musical instruments. These ‘voices’ are explored through the ways they combine within a collaboration to form a ‘discursive voice’. Part 2 presents an analysis of four video recordings made of Austerity Measures I for ten-string guitar by David Gorton, performed by Stefan Östersjö at the ORCiM Research Festival in 2014. This composition requires the solo guitar player to cut materials away across a series of repetitions, replacing them with silence. The analysis draws on quantitative measures of timing and performer movements, and qualitative measures of perceived phrasing structures and performance gestures. While each of these analytical methods alone provides some insight into the performance strategies in the recordings, in the shaping of phrases as materials are cut away, and the structural significance of bodily movement, a much richer understanding is sought through their combination. In doing so the analysis aims to shed light on the interrelations between the embodied knowledge of the performer and the musical structures in the score, and further, between the subjectivities of composer and performer unfolded through the composition and performance of Austerity Measures I. Ultimately this chapter aims to provide analytical evidence for the ‘discursive voice’ within the artistic practice of the authors.

Place, publisher, year, edition, pages
Leuven: Leuven University Press , 2019.
Series
Orpheus Institute Series
Keywords [en]
voice, subjectivity, musical gesture, musical expression
National Category
Humanities and the Arts
Research subject
Musical Performance
Identifiers
URN: urn:nbn:se:ltu:diva-75443OAI: oai:DiVA.org:ltu-75443DiVA, id: diva2:1341488
Available from: 2019-08-08 Created: 2019-08-08 Last updated: 2019-09-11

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CiteExportLink to record
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Citation style
  • apa
  • harvard1
  • ieee
  • modern-language-association-8th-edition
  • vancouver
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