The Embodiment of Authority: Perspectives on Performances (Interdisziplinäre Studien zur Musik / Interdisciplinary Studies of Music)

Performance is a forum for social action, embodied interaction and shared authority. Recently, as the various acts and agencies surrounding a performance have become the target of scholarly interest, the complex split between theory and practice has been challenged, as has the idea of a singular, disembodied authorial ownership of the socio-material meanings surrounding performance. __The Embodiment of Authority__ approaches performance, issues of authority and negotiated knowledge production through multi-material research data and interdisciplinary methods. The book discusses the relationship between authorial questions and performances via the following topics: shared authorities, ontologies of art work, diverse roles of rehearsals in the performance process, and embodied knowledge. Cover 1 Contents 7 Introduction (Taina Riikonen) 9 Ontologies as epistemological interrelations 14 Bodies as surfaces and as visceral 16 References 20 On Musical Performance as a Creative Process: A Semiotic Perspective (Lina Navickaitė-Martinelli) 23 Introduction 23 1. On ‘performance’: terminological premise 25 2. A semiotic model for approaching the art of musical performance 27 3. Case-studies: artists’ views on creativity in performance 32 3.1 The role of a performer 33 3.2 The performer’s relation to the composer/work 34 4. Instead of a conclusion: prospects for research 36 References 38 Breaking up the Fourth Wall: Playing with, Questioning and Crossing the Implicit Barrier between Performer and Audience in Arja Koriseva’s Stage Performance (Yrjö Heinonen) 41 Introduction 41 1. The fourth wall and single focus 42 2. Breaking up the fourth wall and liberating the focus 43 3. Methodology 45 4. The tour 46 5. Crossing barriers at the Seinäjoki Sports Hall 47 6. Use of the stage and auditorium space at the Jyväskylä Paviljonki 49 7. Interplay between performance persona, character and real person 50 8. ‘Rannalla’ (‘On the Shore’) 51 9. ‘Nuori tumma’ (‘Zigeunerjunge’) 52 10. ‘Tuulen värit’ (‘Colours of the Wind’) 54 Conclusion 58 References 59 Different Pianists with Different Bodies: Does the Body Matter? Constructing Discursive-Material Interconnections in a Study on Piano Pedagogy (Johanna Tiensuu) 63 Introduction 63 1. Description of the fieldwork 64 2. Discursive practices 65 3. About discursive materiality 66 4. The pianistic body in the discursive-material (institutional) machine 68 5. From teacher-directedness towards self-regulation 69 6. Music is something done concretely with the body 69 7. Analysis of the fieldwork 70 Conclusion 73 References 73 Other sources 76 Curatorship as Conservation: The Role of the Curator in the Perpetuation of Performance-Based Artworks (Ana Dinger) 77 Preamble 77 1. Between the subject and the object: the subject 78 2. Between the subject and the object: the object 80 3. Between the subject and the object: the interval 80 References 86 The Ontology of Music and the Challenge of Performance: Identity versus Variety, and the Persistence of the ‘Text’ (Anthony Pryer) 89 Introduction 89 1. Performance functions and human agency 90 2. Theories of performance variety: descriptions vs. explanations 93 3. Archival notation, strategic notation, reading cultures and heuristic paths 94 4. Un-notated performances and the persistence of a ‘text’ 98 5. Works of music vs. works for music 99 Afterword: the challenges of performances without a text-concept or work-concept 101 References 102 From Sketches to First Performance: Composer- Performer Interaction in the Creation Process of Jyrki Linjama’s Completorium (Marjaana Virtanen) 105 Introduction 105 1. Studying composer–performer interaction 106 2. The composing process 108 2.1 Composer–performer interaction 108 2.2 Score as script 111 3. Rehearsals leading up to the first performance 112 3.1 Rehearsal interaction 112 3.2 Werktreue and the composer’s intentions 116 4. Composer–performer interaction and the musical work: when will Completorium be finished? 117 Conclusion 121 References 122 Video recordings 122 Interviews 123 Bibliography 123 Sound Art, Music and the Rehabilitation of Schizophonia (Thomas Gardner) 127 Introduction 127 1. Ouija Group, Ecosonic Group and the valuing of schizophonia 128 2. Critique of mutual engagement 130 3. Emergence of schizophonia and the shadow-based Ouija board 131 4. Working with schizophonia 135 Body posture 135 Anticipatory touch 136 Linking vision and hearing 136 Ouija as instrument of enlightenment 136 5. In performance 137 6. Condensation 139 7. Displacement 139 7.1 Displacement – an ethical question 140 Conclusions 140 Mimesis 141 Schizophonia and electronic media 142 References 143 The Impact of the Musical Instrument on Debussy’s La fille aux cheveux de lin: A Dialogue between a Pianist and a Kantele Musician ([Heidi Korhonen-Björkman] [Ritva Koistinen]) 145 Introduction 145 1. The different challenges of the pianist and the kantele musician 147 2. About the individual instrument, tuning and time distribution 150 3. A masterpiece or an interlude? 152 4. The relativity of the dynamic scale 153 5. About the vocabulary 154 Some final comments 156 References 156 Recordings and diaries 156 Literature 156 Reeds: Play within Shared Authority (Catherine Lee) 159 Introduction 159 1. The collaborators 161 2. Development 163 a) Oxen Pond 163 b) Development of the score 163 c) Integration of movement 166 d) Workshop in Montreal 167 e) St. John’s, Newfoundland 169 f) Premier Performance 10 July 2010 170 Conclusion 171 References 172 Signs and Messages of Love in Performing Handel’s Giulio Cesare (Marjo Suominen) 175 Introduction: research tasks and aims 175 1. Previous research 176 1.1 Previous namesake operas 179 1.2 Introducing ideas, basis for a study 180 1.3 Promoting the message of the opera – using metaphor via characterisation 184 2. Performance versions and a sketch of a musical rhetoric/affect analysis 188 2.1 Representation of the characters in the performances 188 2.2 Power and justice by Caesar vs. love and beauty by Cleopatra 191 2.3 Overall structure of the opera and the performances 193 An afterword 194 References 194 Manuscript 194 Printed and Online 195 Video (performance) recordings 199 Appendix A) The structure of the opera: musical numbers 199 Appendix B) The structure of the opera: The overall structure of Giulio Cesare 202 Flow and Gesture in Free Jazz (Guerino Mazzola) 203 Introduction 203 1. What is free jazz? 203 2. How free jazz is realized 204 3. The creation of a distributed identity in free jazz 207 References 208 On Musical Performance As A Creative Process / Lina Navickaite-martinelli -- Breaking Up The Fourth Wall / Yrjö Heinonen -- Different Pianists With Different Bodies / Johanna Tiensuu -- Curatorship As Conservation / Ana Dinger -- The Ontology Of Music And The Challenge Of Performance / Anthony Pryer -- From Sketches To First Performance / Marjaana Virtanen -- Sound Art, Music And The Rehabilitation Of Schizophonia / Thomas Gardner -- The Impact Of The Musical Instrument On Debussy's La Fille Aux Cheveux De Lin / Heidi Korhonen-björkman And Ritva Koistinen -- Reeds / Catherine Lee -- Signs And Messages Of Love In Performing Handel's Giulio Cesare / Marjo Suominen -- Flow And Gesture In Free Jazz / Guerino Mazzola. Taina Riikonen, Marjaana Virtanen (eds). Papers Presented At The Embodiment Of Authority Conference, Held September 2010, Sibelius Institute. Includes Bibliographical References. Performance is a forum for social action, embodied interaction and shared authority. Recently, as the various acts and agencies surrounding a performance have become the target of scholarly interest, the complex split between theory and practice has been challenged, as has the idea of a singular, disembodied authorial ownership of the socio-material meanings surrounding performance. The Embodiment of Authority approaches performance, issues of authority and negotiated knowledge production through multi-material research data and interdisciplinary methods. The book discusses the relationship between authorial questions and performances via the following topics: shared authorities, ontologies of art work, diverse roles of rehearsals in the performance process, and embodied knowledge.0