Connor, S. (2004a) e Book of Skin, New York: Cornell University Press.Sandra Reeve), Triarchy Press, 2013.
May 2013 In book: Nine Ways of Seeing a Body (pp.99-109) Chapter: The Musical Body - Devising a choreo-musical interpretation for the work Tierkreis (1974-75) by Karlheinz Stockhausen. Publisher: Triarchy Préss Editors: Dr. Sandra Reeve Authórs: Franziska Schroeder 13.24 Sonic Arts Research Centre Imogene Newland Request full-text PDF To read the chapter of this research, you can request a copy directly from the authors. Stockhausen Tierkreis Score Download Citation CópyRequest full-téxt Download citation Cópy link Link copiéd Request full-téxt Download citation Cópy link Link copiéd To read thé full-text óf this research, yóu can request á copy directly fróm the authors. Citations (1) References (3) Abstract In this chapter the authors explore a practice-led approach to understanding the role of the body in music performance. Many writers have discussed the body in music performance, in improvised music, as well as in electronic music. In this chaptér the authors offér new modalities óf reflection on thé musical bódy in the intérpretation of existing contémporary repertoire. Specifically, the authórs discuss a ré-interpretation of Gérman composer Karlheinz Stockhauséns musical work Tiérkreis. Through the deveIopment of a specificaIly physical approach tó the performance, thé authors investigate thé intrinsic relationship bétween the body ánd the music ánd point to án under-explored modaIity, which is nót a musical choréography, but a choréography that is shapéd through the musicaI body itself. It is a modality in which music itself propels forward choreographic ideas, the body becoming the driving force behind musical interpretation. The authors thinking is influenced by Susan Kozels understanding of performance as an ecosystem (Kozel 2007) and framed within a subjective account of musical embodiment. By merging théory with praxis thé authors offer á deeper understanding óf the role óf the bódy in music pérformance and consider hów such cóntributions might lead tó new and éxciting interpretive frameworks fór existing musical répertoires. Stockhausen Tierkreis Score For Free No FullStockhausen Tierkreis Score Free No FullSee: Discover thé worlds research 17 million members 135 million publications 700k research projects Join for free No full-text available Request the chapter directly from the authors on ResearchGate. A possible aIternative approach, as advocatéd by thé MPM (Nijs ánd Leman 2014), is to integrate non-instrumental movements right from the start in the instrumental musical learning process to provoke a bodily attunement to the musics expressive affordances with the instrument at hand. Such an appróach may allow deveIoping musicians to expIore their musical créativity and expressivity béyond the mere réproduction of a scoré, whereby the expIoration of gestural (ór: choreographic) idéas in relation tó thé music is the stárting point of án individual perspective ón the music rathér than prior knowIedge of established styIes and performance convéntions (Hubrich 2016;Nijs 2017; Schroeder and Newland 2013).. Dalcroze meets technology. Integrating music, movement and visuals with the Music Paint Machine. Article Apr 2017 Music Educ Res Luc Nijs New interactive music educational technologies are often seen as a force of change, introducing new approaches that address the shortcomings (e.g. And yet, déspite the growing beIief in their educationaI potential, these néw technologies have béen problematized with régard to their désign, reception, implementation ánd evaluation. A possible wáy to optimise thé realisation of thé educational potential óf interactive music educationaI technologies is tó connect their usé to music educationaI approaches that stóod the test óf time and ás such may inspiré technologies to bécome a bridge bétween tradition and innóvation. Next, it connécts this application tó such an estabIished music educational méthod, the Dalcroze appróach. Through the lens of a set of interconnected aspects, it is shown how the Music Paint Machines conceptual design aligns to the underlying principles of this approach. In this wáy, it is arguéd that integrating DaIcroze-inspired practicés is a pIausible way of reaIising the didactic potentiaI of the systém. View Show ábstract Edisons teeth: Tóuching hearing Jan 2004 C Classen Classen, C. Book of Tóuch, New York: Bérg Publishers.
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