Cathy Berberian: Pioneer of Contemporary Vocality

Karantonis, Pamela; Placanica, Francesca; Verstraete, Pieter

doi:10.4324/9781315571072

Cited by 6 publications

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“…Analyses of performances resulting from such collaborations thus call for a reappraisal of the relationship between the composer and performer, as exemplified by Clarke et al (2005). Certain authors (see, for example, Iddon, 2013;and Karantonis et al, 2014) have explored these processes and relationships via documentary research, though without reference to the artefactual evidence of recordings. Within the performance-analytical literature, the tantalising archival work of Nedelman hints at the epistemological possibilities afforded by cross-examination of performer testimony, working notes, sketch materials, and recordings of New Music.…”

Section: Discussionmentioning

confidence: 99%

Empirical Approaches to the Performance Analysis of New Music

Jones

2024

MPR

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New Music inherently challenges norms of performance practice, expression, interpretation, perception, and audience reception. Given the centrality of these themes to musical performance studies and the significant recording and performance traditions of many works of New Music, it is surprising that so little attention has thus far been dedicated to this repertoire. In response to this lacuna and Clarke and Doffman’s (2014) prospective paradigm for a performance studies of New Music, this article offers a close reading of the relatively limited empirical performance literature, highlighting the novel and varied epistemological affordances of the works in question, with consideration for repertoire chosen; selection of recordings; methodological approaches; themes addressed; the relevance of score analysis; the role of the performer; and the import of the research for audiences. I then contribute my own practice-based research on Stockhausen’s Klavierstück X (1961), illustrating the creative potential of self-reflexive performance analysis for performers of complex music. I thus offer a state of play for empirical research, while showcasing further aims and objectives, allied to the peculiar exigencies, performance ecologies, and aesthetic qualities of New Music

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Section: Discussionmentioning

confidence: 99%

Empirical Approaches to the Performance Analysis of New Music

Jones

2024

MPR

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“…8 Cfr. Beghelli 2021.9 Cfr Karantonis et al 2014. (nonché Rizzardi 2021, sul caso simile di Joan La Barbara).…”

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Il contro-ordine femminile nella voce musicale contemporanea

Lombardi Vallauri

2019

Le Forme Del Sentire

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Drawing from the comparison with some archetypal female figures (Antigone, Medea), the essay studies contemporary music across genres and styles, investigating the ways in which female singing constitutes in itself – as timbral-articulatory conduct, not as a vehicle of referential meanings – an ethical order alternative to the dominant male and sexist one. In particular, the following different cases are examined: the music theater work Medea by the male composer Adriano Guarnieri; the figure of Yoko Ono in the collective imagination; Diamanda Galás’s oeuvre. The reflection then moves on to the queer vocal counter-order, especially in the work of the transgender author-singer Anohni; and on a feminine but non-gay-queer male model, through a comprehensive exam of Anglo-American popular song.

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Historical Performance in Early Opera: A Brown Female Artist-scholar’s Autoethnography

Mani

2024

Palgrave Critical University Studies

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Cathy Berberian: Pioneer of Contemporary Vocality

Cited by 6 publications

References 0 publications

Empirical Approaches to the Performance Analysis of New Music

Empirical Approaches to the Performance Analysis of New Music

Il contro-ordine femminile nella voce musicale contemporanea

Historical Performance in Early Opera: A Brown Female Artist-scholar’s Autoethnography

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