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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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| 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 |
Tabla de Contenidos:
- ""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""
- ""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""
- ""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""
- ""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""
- ""The Body as a Strategic Zero Point�Beyond the Body""""The Body as a Filter""; ""The Body as Memory""; ""Kinaesthetic Explorations""; ""Beyond the Body""