Composing under the skin : the music-making body at the composer's desk

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...

Full description

Saved in:
Bibliographic Details
Main Author: Craenen, Paul (Author)
Other Authors: White, Helen (Translator)
Format: Electronic eBook
Language:English
Published: Leuven : Leuven University Press, [2014]
Series:Orpheus Institute series.
Subjects:
Composition (Music)
Performance practice (Music)
MUSIC > Instruction & Study > Theory.
MUSIC > Instruction & Study > Composition.
Online Access:Connect to this title online (unlimited users allowed)
Table of Contents:
  • 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 ""; ""“Why?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 “Nowâ€? of Timbre""
  • ""The Body as a Strategic Zero Pointâ€?Beyond the Body""""The Body as a Filter""; ""The Body as Memory""; ""Kinaesthetic Explorations""; ""Beyond the Body""

Similar Items