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Composing under the Skin : The Music-making Body at the Composer's Desk /
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 th...
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| Otros Autores: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Leuven :
Leuven University Press,
[2014]
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| Colección: | Book collections on Project MUSE.
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| Temas: | |
| Acceso en línea: | Texto completo |
MARC
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|---|---|---|---|
| 001 | musev2_37011 | ||
| 003 | MdBmJHUP | ||
| 005 | 20230905043905.0 | ||
| 006 | m o d | ||
| 007 | cr||||||||nn|n | ||
| 008 | 141220t20142014be o 00 0 eng d | ||
| 020 | |a 9789461661531 | ||
| 035 | |a (OCoLC)900285925 | ||
| 040 | |a MdBmJHUP |c MdBmJHUP | ||
| 100 | 1 | |a Craenen, Paul, |e author. | |
| 240 | 1 | 0 | |a Gecomponeerde uitvoerders. |l English |
| 245 | 1 | 0 | |a Composing under the Skin : |b The Music-making Body at the Composer's Desk / |c Paul Craenen ; translator: Helen White. |
| 264 | 1 | |a Leuven : |b Leuven University Press, |c [2014] | |
| 264 | 3 | |a Baltimore, Md. : |b Project MUSE, |c 2016 | |
| 264 | 4 | |c ©[2014] | |
| 300 | |a 1 online resource (284 pages). | ||
| 336 | |a text |b txt |2 rdacontent | ||
| 337 | |a computer |b c |2 rdamedia | ||
| 338 | |a online resource |b cr |2 rdacarrier | ||
| 490 | 0 | |a Orpheus Institute Series | |
| 505 | 0 | |a ""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"" | |
| 505 | 0 | |a ""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 concrÃ?te""; ""Musique concrÃ?te instrumentale""; ""Ambivalences""; ""Chapter III""; ""Composed Instruments""; ""A Mediated Relationship ""; ""The Ecology of Hearing""; ""The Dynamics of Resonant Presence""; ""The Instrumental Extension""; ""An Invisible Instrument"" | |
| 505 | 0 | |a ""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 ""; ""â€oeWhy?â€?""; ""The Trombone as Percussion ""; ""Percussive Silence"" | |
| 505 | 0 | |a ""Sequenza V, Section B""""Composed Instruments ""; ""Dynamic Identity""; ""Chapter IV""; ""The Composed Body""; ""The Composerâ€?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 Bodyâ€?s Touch""; ""The â€oeNowâ€? of Timbre"" | |
| 505 | 0 | |a ""The Body as a Strategic Zero Point�Beyond the Body""""The Body as a Filter""; ""The Body as Memory""; ""Kinaesthetic Explorations""; ""Beyond the Body"" | |
| 520 | |a 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 co. | ||
| 588 | |a Description based on print version record. | ||
| 650 | 7 | |a Performance practice (Music) |2 fast |0 (OCoLC)fst01057874 | |
| 650 | 7 | |a Composition (Music) |2 fast |0 (OCoLC)fst00871761 | |
| 650 | 7 | |a MUSIC |x Instruction & Study |x Composition. |2 bisacsh | |
| 650 | 7 | |a MUSIC |x Instruction & Study |x Theory. |2 bisacsh | |
| 650 | 6 | |a Pratique de l'execution (Musique) | |
| 650 | 6 | |a Composition (Musique) | |
| 650 | 0 | |a Performance practice (Music) | |
| 650 | 0 | |a Composition (Music) | |
| 655 | 7 | |a Electronic books. |2 local | |
| 700 | 1 | |a White, Helen, |e translator. | |
| 710 | 2 | |a Project Muse. |e distributor | |
| 830 | 0 | |a Book collections on Project MUSE. | |
| 856 | 4 | 0 | |z Texto completo |u https://projectmuse.uam.elogim.com/book/37011/ |
| 945 | |a Project MUSE - Custom Collection | ||
| 945 | |a Project MUSE - 2014 Complete Supplement | ||
| 945 | |a Project MUSE - 2014 Film, Theater and Performing Arts Supplement | ||