Shakespeare, Jonson, and the Claims of the Performative

Loxley, James; Robson, Mark

doi:10.4324/9780203547991

“…Suffice it to say, for the moment, that there is a growing tendency to address performativities more fully in music research (see e.g., Chung, 2019;Kartomi, 2014;Madrid, 2009), in addition to the established Butlerian approaches affiliated with, for instance, identity, gender and ethnicity studies. In one sense, we seek to join forces with Chung's P 1 -Performativity and P 2 -Performativity, as well as Miller's Performativities sub 1 and sub 2 (Chung, 2019;Miller, 2009), while at the same time acknowledging the individual contributions and genealogical steps of performativity's development (e.g., Loxley, 2006;Loxley & Robson, 2013) in close relation to pedagogy and rhetoric. I offer here a possible starting point, not a complete methodology, but rather a contributory incentive towards creating a course for future research: What will HIP do for us in the future?…”

Section: α(X)mentioning

confidence: 99%

“…To paraphrase Miller, I aim to distinguish carefully between several kinds of performativity and show their helpfulness in reading historical music, music performance, and HIP (Miller, 2009). Numerous publications describe the developmental aspects of the theories of Austin, Derrida and Butler (Hall, 2000;Hollywood, 2002;Kohli, 1999;Loxley, 2006;Loxley & Robson, 2013;Marshall, 1999;McKinlay, 2010;Parker & Sedgwick, 1995;Potter 2001;Sommerfeldt et al, 2014;Ruitenberg, 2007;Reinelt, 2002). I see no point in offering yet another exhaustive historiography in the present context, but will rather focus on their core methodological potential.…”

mentioning

confidence: 99%

Introduction: Making History Through Music Performance and Education

Rolfhamre¹,

Angelo²

2022

Views on Early Music as Representation

0

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“…Suffice it to say, for the moment, that there is a growing tendency to address performativities more fully in music research (see e.g., Chung, 2019;Kartomi, 2014;Madrid, 2009), in addition to the established Butlerian approaches affiliated with, for instance, identity, gender and ethnicity studies. In one sense, we seek to join forces with Chung's P 1 -Performativity and P 2 -Performativity, as well as Miller's Performativities sub 1 and sub 2 (Chung, 2019;Miller, 2009), while at the same time acknowledging the individual contributions and genealogical steps of performativity's development (e.g., Loxley, 2006;Loxley & Robson, 2013) in close relation to pedagogy and rhetoric. I offer here a possible starting point, not a complete methodology, but rather a contributory incentive towards creating a course for future research: What will HIP do for us in the future?…”

Section: α(X)mentioning

confidence: 99%

“…To paraphrase Miller, I aim to distinguish carefully between several kinds of performativity and show their helpfulness in reading historical music, music performance, and HIP (Miller, 2009). Numerous publications describe the developmental aspects of the theories of Austin, Derrida and Butler (Hall, 2000;Hollywood, 2002;Kohli, 1999;Loxley, 2006;Loxley & Robson, 2013;Marshall, 1999;McKinlay, 2010;Parker & Sedgwick, 1995;Potter 2001;Sommerfeldt et al, 2014;Ruitenberg, 2007;Reinelt, 2002). I see no point in offering yet another exhaustive historiography in the present context, but will rather focus on their core methodological potential.…”

mentioning

confidence: 99%

Hearing Early Modern Music Through the Contemporary

Øvrebø¹

2022

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This chapter focuses on how contemporary music practice interacts with early modern1 aesthetics. Two projects, in which Georg Philip Telemann’s solo fantasias are interspersed with contemporary techniques and repertoire, serve as case studies. Firstly, the flutist Felix Renggli commissioned new pieces from 11 contemporary Swiss composers, to be inserted in between Telemann’s 12 Fantasias for Solo Flute. Secondly, violinist Aisha Orazbayeva performed a set of Telemann’s Solo Fantasias for Violin using extended techniques pioneered by Salvatore Sciarrino in his 6 caprices. In this text I use these two different approaches as case studies for how early modern music, exemplified by Telemann, can be communicated to a modern audience without relying upon the concept of historically informed performance, but instead communicates through the operation of semiotics in performance.

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“…To paraphrase Miller, I aim to distinguish carefully between several kinds of performativity and show their helpfulness in reading historical music, music performance, and HIP (Miller, 2009). Numerous publications describe the developmental aspects of the theories of Austin, Derrida and Butler (Hall, 2000;Hollywood, 2002;Kohli, 1999;Loxley, 2006;Loxley & Robson, 2013;Marshall, 1999;McKinlay, 2010;Parker & Sedgwick, 1995;Potter 2001;Sommerfeldt et al, 2014;Ruitenberg, 2007;Reinelt, 2002). I see no point in offering yet another exhaustive historiography in the present context, but will rather focus on their core methodological potential.…”

mentioning

confidence: 99%

Performative Musicology and HIP as Rhetoric and Pedagogy for the Past in Present and Future

Rolfhamre¹

2022

Views on Early Music as Representation

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In this chapter, I examine early music performance, musicology and music pedagogy in order to propose moving from what I argue to be an understanding of HIP (historically informed performance) as something analogous to a learning outcome, to the idea of utilising its potential as a pedagogical and rhetorical practice, providing a different context in which to develop its potential. First, I present a canvas on which HIP is delineated. Next, I engage in a logical exercise to unlock and explore HIP’s inner workings. Expanding on John Hillis Miller’s (2009) performativity sub one and sub two, I proceed to propose four different types of performativity (i.e., performativities0–3) centred on John Langshaw Austin, Jacques Derrida and Judith Butler respectively. Providing some foundation for this exercise is a survey based on 132 music research journal articles published over the last five years in six representative, refereed journals. This leads me to a first attempt at proposing a dedicated performative musicology. Here, I introduce a rhetorical perspective on the past in the present based on the work of Antonis Liakos and Mitsos Bilalis (2017), Rivers and Weber (2011) and Rueger (2011). This ultimately leads to a final perspective of regarding HIP as a pedagogical activity providing a space for future ethical concerns. Or, more descriptively phrased: a pedagogy for the past in the present and future.

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Shakespeare, Jonson, and the Claims of the Performative

Cited by 9 publications

References 0 publications

Introduction: Making History Through Music Performance and Education

Introduction: Making History Through Music Performance and Education

Hearing Early Modern Music Through the Contemporary

Performative Musicology and HIP as Rhetoric and Pedagogy for the Past in Present and Future

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