738 research outputs found
The polyphonic performer. A study of performance practice in music for solo cello by Morton Feldman, Helmut Lachenmann, Klaus K. Hübler and Simon Steen-Andersen
No full textDissertation, originally submitted for the PhD degree to Norwegian Academy of Music, Oslo 2014. This version is an interactive version of the original, with slight changes in the foreword and incorporated links to streaming videos http://prosjekt.nmh.no/orning-polyphonic-performer/Abstract - (for the interactive PDF 2019). The polyphonic performer. A study of performance practice in music for solo cello by Morton Feldman, Helmut Lachenmann, Klaus K. Hübler and Simon Steen-Andersen. Since World War II, a new repertoire has arisen, that in many respects proposes a new role for the cellist and the cello, breaking with the previously established role of musician. The purpose of this project is to investigate, conceptualize, and document this new role on the basis of central works by four composers of contemporary cello repertoire: Projection I (1950) and Intersection IV (1953) by Morton Feldman, Pression (1969) by Helmut Lachenmann, Opus breve (1987) by Klaus K. Hübler, and Studies #1–3 (2007, 2009, 2011) by Simon Steen-Andersen. The aesthetic strength and expressive clarity of these works provide rich incentive to explore new approaches to the music, the resources and expertise called for, and the challenges that they represent. This knowledge contributes to clarifying a contemporary performance practice, and to understanding how the musician’s role has evolved since 1950. My investigation of the performance practice circles around four main topics: notation, Werktreue (fidelity to the work or its composer), idiomaticism, and body (the physical relationship between instrument and performer). In order to explore and analyze these remarkable and peculiar pieces, we require theoretical and methodical applications that correspond to the nature and demands of the research. I argue that the performer needs new skills and expertise for this repertory, and I investigate these new requirements through my own process of practice and performance. In seeking the answers to my research questions, I draw on artistic practice as a vehicle, tool, or method that situates my study within artistic research. The project is thematically confined to the repertoire of my own instrument, the cello; however, the ambition of the project is to contribute to the expansion of the scope of discussion within the field of performance practice for performers, composers, conductors, and musicologists alike. In addition to the dissertation, the artistic result of the project comprises twelve videos of my performances of the central works, and a concert series, CELLOPRAXIS undertaken during the course of the research period.updatedVersionhttp://prosjekt.nmh.no/orning-polyphonic-performer
CD Reviews
No full textNathan Wolek: Erdem Helvacioglu’s Altered RealitiesJonathan Seiden: RedASLA: Red de Arte Sonoro LatinoamericanoKrystal Grant: Tanja Orning and Natasha Barrett’s Dr. OXNathan Wolek: Bob Gluck’s Electric BrewJulio d’Escriván: Robert Normandeau’s Puzzle
Tanja Dixon-Warren’s Story of Jane
No full textgardenimmigrantoriginalVancouverWorld War II1930’sBritai
Music as performance – gestures, sound and energy
No full textThe aesthetic project in a number of contemporary works composed after World War II has led to major changes and challenges within key areas such as notation, idiomaticism, interpretation, the performer’s role and the work concept. This new musical aesthetic, employing performative energy, instrumental practice and gestures as compositional material requires an analytical approach that corresponds to the nature and demands of the music in performance. A fundamental question is how to understand music, not as a work written in a score but as a living object, as performance, sound, action and embodiment. To research this within music brings about new methodological challenges. In this article, the author discusses possible methods in approaching and investigating performance practice in music, specifically in contemporary cello music, guided by the research question: How can I relate and network the pluralism of methods in music research involving artistic practice
Internationalisation Strategies for B2B Companies
No full textAuthor Tanja Maria Scherbaum, B.A.Masterarbeit Universität Linz 201
Internationalisation Strategies for B2B Companies
No full textAuthor Tanja Maria Scherbaum, B.A.Masterarbeit Universität Linz 201
Der Einfluss von Social Media Marketing von Luxus-Modemarken auf das Markenbewusstsein und die Kaufabsicht der Kunden : am Beispiel von Instagram
No full textAuthor Heinzl Tanja, BScAbweichender Titel laut Übersetzung der Verfasserin/des VerfassersMasterarbeit Universität Linz 2022Arbeit auf den öffentlichen PCs in den Bibliotheken der JKU+Medizin abrufba
Engagement dynamics In online workshops for future-making : a case study of an open foresight project
No full textAuthor Tanja Berndl BScMasterarbeit Johannes Kepler Universität Linz 2024Arbeit nach Ablauf der Sperre auf den öffentlichen PCs in den Bibliotheken der JKU+Medizin abrufba
Engagement dynamics In online workshops for future-making : a case study of an open foresight project
No full textAuthor Tanja Berndl BScMasterarbeit Johannes Kepler Universität Linz 2024Arbeit nach Ablauf der Sperre auf den öffentlichen PCs in den Bibliotheken der JKU+Medizin abrufba
Misplaced Women?
No full textMisplaced Women? is an ongoing interdisciplinary art project (2009-2017) by Tanja Ostojić that has been conceived as both an internet—platform and a real platform organized in public spaces in the cities across the globe to discuss the issues of migration, displacement, security, privacy, and exposure. It is manifested in a series of performances by the author herself, as well as delegated performances, individual or group performances predominantly by women, and performance workshops conducted by Tanja Ostojić herself. Essentially, the performance score might include unpacking, rummaging and detailed searching of the entire content, pockets, purses, wallets, personal suitcases and bags on sites that are relevant to migration, such as airports, train stations, Western Union Money Transfer services, police stations for foreigners who want to obtain residence permits, etc. Participants performing at authentic locations might repeat similar actions that build upon the basic proposal of the Misplaced Women? concept, i.e. they deal with positions andexperiences of people in transit, migration, and exile.Misplaced Women? is an ongoing interdisciplinary art project (2009-2017) by Tanja Ostojić that has been conceived as both an internet—platform and a real platform organized in public spaces in the cities across the globe to discuss the issues of migration, displacement, security, privacy, and exposure. It is manifested in a series of performances by the author herself, as well as delegated performances, individual or group performances predominantly by women, and performance workshops conducted by Tanja Ostojić herself. Essentially, the performance score might include unpacking, rummaging and detailed searching of the entire content, pockets, purses, wallets, personal suitcases and bags on sites that are relevant to migration, such as airports, train stations, Western Union Money Transfer services, police stations for foreigners who want to obtain residence permits, etc. Participants performing at authentic locations might repeat similar actions that build upon the basic proposal of the Misplaced Women? concept, i.e. they deal with positions andexperiences of people in transit, migration, and exile
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