Composers on Stage: Ambiguous Authorship in Contemporary Music Performance

Sanne Krogh Groth

    Publikation: Bidrag til tidsskriftTidsskriftartikelForskningpeer review

    Resumé

    In recent years, workflows within the field of contemporary classical music have changed drastically. Increasingly, composers are active in the process of creating and co-creating performances, not only the auditory dimensions but also the visual design and theatrical staging. The practice has recently been termed The New Discipline [Jennifer Walshe (2016, March 4). The new discipline: A compositional manifesto. Retrieved from www.borealis.no]. Of particular interest to the present article are composers of this practice taking part in the performance itself, not as professional musicians but involving themselves in other ways. The article explores the ambivalent authorship at stake in these performances, arguing that they appear to be projects that reveal the
    processes of musical performance in ways that undermine the Romantic idea of the composer while concurrently celebrating that very same idea through their exposition and staging of the composer. The examples used to illustrate my argument are analyses of All the Time (Hodkinson, 2001), Buenos Aires (Steen-Andersen 2014) and Ord for Ord (Rønsholdt, 2014)
    OriginalsprogEngelsk
    TidsskriftContemporary Music Review
    Vol/bind35
    Udgave nummer6
    Sider (fra-til)686-705
    ISSN0749-4467
    DOI
    StatusUdgivet - 2016

    Emneord

    • Contemporary music
    • Performance
    • Theatricality
    • Composer
    • Music as performance
    • Authorship

    Citer dette

    @article{f4b7734772854696b27f1e6e9d7815a5,
    title = "Composers on Stage: Ambiguous Authorship in Contemporary Music Performance",
    abstract = "In recent years, workflows within the field of contemporary classical music have changed drastically. Increasingly, composers are active in the process of creating and co-creating performances, not only the auditory dimensions but also the visual design and theatrical staging. The practice has recently been termed The New Discipline [Jennifer Walshe (2016, March 4). The new discipline: A compositional manifesto. Retrieved from www.borealis.no]. Of particular interest to the present article are composers of this practice taking part in the performance itself, not as professional musicians but involving themselves in other ways. The article explores the ambivalent authorship at stake in these performances, arguing that they appear to be projects that reveal theprocesses of musical performance in ways that undermine the Romantic idea of the composer while concurrently celebrating that very same idea through their exposition and staging of the composer. The examples used to illustrate my argument are analyses of All the Time (Hodkinson, 2001), Buenos Aires (Steen-Andersen 2014) and Ord for Ord (R{\o}nsholdt, 2014)",
    keywords = "Contemporary music, Performance, Theatricality, Composer, Music as performance, Authorship",
    author = "Groth, {Sanne Krogh}",
    year = "2016",
    doi = "10.1080/07494467.2016.1282650",
    language = "English",
    volume = "35",
    pages = "686--705",
    journal = "Contemporary Music Review",
    issn = "0749-4467",
    publisher = "Routledge",
    number = "6",

    }

    Composers on Stage: Ambiguous Authorship in Contemporary Music Performance. / Groth, Sanne Krogh.

    I: Contemporary Music Review, Bind 35, Nr. 6, 2016, s. 686-705 .

    Publikation: Bidrag til tidsskriftTidsskriftartikelForskningpeer review

    TY - JOUR

    T1 - Composers on Stage: Ambiguous Authorship in Contemporary Music Performance

    AU - Groth, Sanne Krogh

    PY - 2016

    Y1 - 2016

    N2 - In recent years, workflows within the field of contemporary classical music have changed drastically. Increasingly, composers are active in the process of creating and co-creating performances, not only the auditory dimensions but also the visual design and theatrical staging. The practice has recently been termed The New Discipline [Jennifer Walshe (2016, March 4). The new discipline: A compositional manifesto. Retrieved from www.borealis.no]. Of particular interest to the present article are composers of this practice taking part in the performance itself, not as professional musicians but involving themselves in other ways. The article explores the ambivalent authorship at stake in these performances, arguing that they appear to be projects that reveal theprocesses of musical performance in ways that undermine the Romantic idea of the composer while concurrently celebrating that very same idea through their exposition and staging of the composer. The examples used to illustrate my argument are analyses of All the Time (Hodkinson, 2001), Buenos Aires (Steen-Andersen 2014) and Ord for Ord (Rønsholdt, 2014)

    AB - In recent years, workflows within the field of contemporary classical music have changed drastically. Increasingly, composers are active in the process of creating and co-creating performances, not only the auditory dimensions but also the visual design and theatrical staging. The practice has recently been termed The New Discipline [Jennifer Walshe (2016, March 4). The new discipline: A compositional manifesto. Retrieved from www.borealis.no]. Of particular interest to the present article are composers of this practice taking part in the performance itself, not as professional musicians but involving themselves in other ways. The article explores the ambivalent authorship at stake in these performances, arguing that they appear to be projects that reveal theprocesses of musical performance in ways that undermine the Romantic idea of the composer while concurrently celebrating that very same idea through their exposition and staging of the composer. The examples used to illustrate my argument are analyses of All the Time (Hodkinson, 2001), Buenos Aires (Steen-Andersen 2014) and Ord for Ord (Rønsholdt, 2014)

    KW - Contemporary music

    KW - Performance

    KW - Theatricality

    KW - Composer

    KW - Music as performance

    KW - Authorship

    U2 - 10.1080/07494467.2016.1282650

    DO - 10.1080/07494467.2016.1282650

    M3 - Journal article

    VL - 35

    SP - 686

    EP - 705

    JO - Contemporary Music Review

    JF - Contemporary Music Review

    SN - 0749-4467

    IS - 6

    ER -