Craenen Composing under the Skin

The Music-making Body at the Composer’s Desk
01. Auflage 2014
ISBN: 978-94-6166-153-1
Verlag: Leuven University Press
Format: PDF
Kopierschutz: Adobe DRM (»Systemvoraussetzungen)

E-Book, Englisch

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 There Metamorphosis of the Sounding Space

Music in the World
The Space surrounding the Music The Space for the Music The Space of the Music

Music from Here and There Eye and Ear Music from Somewhere Points, Lines, Spheres Resonance Discipline Resistance Interruption Concrete Music, Moving Sound Music from There Music from Here Travelling between Here, There, and Somewhere
Chapter II: The Body Resounds The Silent Body Collective Tension Spatial Frustration

The Sounding Body Instrumental Theatre Contact Microphones and EEGs Between the Abstract and the Concrete The Voice Exposed

A Concrete Turn Ideology, Rediscovery, Experiment Audible Processes Sound Art Musique concrèteMusique concrète instrumentale Ambivalences

Chapter III: Composed Instruments A Mediated Relationship The Ecology of Hearing The Dynamics of Resonant Presence

The Instrumental Extension An Invisible Instrument Isolation and Selection Inspiring Effort

Playing Technique and Musicality The Virtuoso Body

Instrumental Thinking

Music-Making as Performance Instrumental Intentions Instrumental Imagination

Instrumental Identity Striking and Bowing Bowing Striking Seeing, Hearing, Feeling Mirroring the Strike, Voicing the Instrument Enacting and Subvocalising Multi-modal Gesture Plucking

The Point and the Line

Sequenza V “Why?” The Trombone as Percussion Percussive Silence Sequenza V, Section B

Composed Instruments Dynamic Identity

Chapter IV: The Composed Body The Composer's Perspective An Impossible Object Access to the Body

Compositional Strategies Revealing Enlarging Synchronising Demonstrating Conceptualising Projecting Infecting Interacting

Linearity versus Nonlinearity Patchworks From Composition to Design

The Composing Body The Writing Body The Signature of the Composing Body The Body's Touch The “Now” of Timbre

The Body as a Strategic Zero Point—Beyond the Body The Body as a Filter The Body as Memory Kinaesthetic Explorations Beyond the Body

Refences Index About 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.