Change search
Refine search result
1 - 2 of 2
CiteExportLink to result list
Permanent link
Cite
Citation style
  • apa
  • ieee
  • modern-language-association-8th-edition
  • vancouver
  • Other style
More styles
Language
  • de-DE
  • en-GB
  • en-US
  • fi-FI
  • nn-NO
  • nn-NB
  • sv-SE
  • Other locale
More languages
Output format
  • html
  • text
  • asciidoc
  • rtf
Rows per page
  • 5
  • 10
  • 20
  • 50
  • 100
  • 250
Sort
  • Standard (Relevance)
  • Author A-Ö
  • Author Ö-A
  • Title A-Ö
  • Title Ö-A
  • Publication type A-Ö
  • Publication type Ö-A
  • Issued (Oldest first)
  • Issued (Newest first)
  • Created (Oldest first)
  • Created (Newest first)
  • Last updated (Oldest first)
  • Last updated (Newest first)
  • Disputation date (earliest first)
  • Disputation date (latest first)
  • Standard (Relevance)
  • Author A-Ö
  • Author Ö-A
  • Title A-Ö
  • Title Ö-A
  • Publication type A-Ö
  • Publication type Ö-A
  • Issued (Oldest first)
  • Issued (Newest first)
  • Created (Oldest first)
  • Created (Newest first)
  • Last updated (Oldest first)
  • Last updated (Newest first)
  • Disputation date (earliest first)
  • Disputation date (latest first)
Select
The maximal number of hits you can export is 250. When you want to export more records please use the Create feeds function.
  • 1.
    Gorton, David
    et al.
    Royal Academy of Music, London, UK.
    Östersjö, Stefan
    Choose Your Own Adventure Music: On the Emergence of Voice in Musical Collaboration2016In: Contemporary Music Review, ISSN 0749-4467, E-ISSN 1477-2256, Vol. 35, no 6, p. 579-598Article in journal (Refereed)
    Abstract [en]

    The practices of collaborating composers and performers have been receiving increasing attention within academic discourse. Such collaborations are often presented from two complementary perspectives: pre-compositional joint invention and post-compositional negotiations in the realisation of a score and its notation. This article attempts to bridge the gap between the two perspectives through a discussion on the emergence of ‘voice’ that pervades the artistic practice, and binds the pre- and post-compositional phases together. Two compositions by David Gorton, written in collaboration with guitar player Stefan Östersjö, will be examined:Forlorn Hopefor 11-string alto guitar and optional live electronics andAusterity Measures Ifor 10-string guitar. Both pieces are the result of an extended pre-composition experimental phase, and both pieces attempt to recreate something of those experiments in the contexts of their performance, establishing the conditions for the emergence of a ‘discursive voice’ of both composer and performer

  • 2.
    Östersjö, Stefan
    et al.
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Gorton, David
    Royal Academy of Music, London.
    Austerity Measures I: performing the discursive voice2019In: Voices, Bodies, Practices: Performing Musical Subjectivities / [ed] Catherine Laws, William Brooks, David Gorton, Thanh Thủy Nguyễn, Stefan Östersjö, and Jeremy J. Wells., Leuven: Leuven University Press , 2019, p. 29-82Chapter 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.

1 - 2 of 2
CiteExportLink to result list
Permanent link
Cite
Citation style
  • apa
  • ieee
  • modern-language-association-8th-edition
  • vancouver
  • Other style
More styles
Language
  • de-DE
  • en-GB
  • en-US
  • fi-FI
  • nn-NO
  • nn-NB
  • sv-SE
  • Other locale
More languages
Output format
  • html
  • text
  • asciidoc
  • rtf