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- Beech, David, 1965
(författare)
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From Commodification to Exceptionalism
- 2017
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Ingår i: Left Forum 2017: The Resistance.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- A panel at Left Forum was convened to discuss Dave Beech's book Art and Value, organised by Bryan Pankhurst (Oberlin College). The abstract for the panel read as follows: Dave Beech’s groundbreaking 2015 text Art and Value is the first systematic critique of the analytical approaches to art that have arisen within the frameworks of classical, neoclassical and Marxian economics. In addition to diagnosing a series of foundational mistakes that undermine the conclusions of historically significant economic treatments of art, the book also makes the positive argument that art is economically exceptional, in that the dynamics of its production and consumption are dissimilar to the dynamics that characterize the production and consumption of commodities in the context of capital accumulation. That is, contrary to the conventional pessimistic wisdom of much Marxist art theory, art has (by and large) not been relentlessly commodified, and art production has (by and large) not been subject to formal or real subsumption under capital. In this author-meets-critics panel, four music scholars who are sympathetic to Beech’s project develop and reflect upon themes from Art and Value. Topics to be explored include: 1) the applicability of Beech’s analysis, which centers on visual art and the gallery system, to various spheres of musical production and consumption; 2) the broad class of saleable items whose use-value is inseparable from the (authentic, traditional, non-exploitative, etc.) manner in which they are produced (such as art objects); 3) the welfare economics behind justifications for government support for the arts; and 4) the methodological errors committed by “Weberian” Marxists, such as Adorno and Lukács, in their impressionistic attempts to correlate artistic phenomena and the capitalist mode of production.
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- Tatlow, Mark, 1955
(författare)
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Arias for a Voiceless Singer: What Can They Teach Us about Eighteenth-Century Opera?
- 2023
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Ingår i: International Conference organised by Divino Sospiro (Centro de Estudos Musicais Setecentistas de Portugal), at Queluz National Palace: Historically Informed Performance.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- This paper introduces my ongoing joint collaboration with Magnus Tessing Schneider on a vocal-score edition of fourteen of Luigi Bassi’s arias by other composers than Mozart. Covering the period 1780–1820, nine of the arias were specifically written for the singer by such little-known composers as Pietro Morandi, Angelo Tarchi, Peter Winter, Giovanni Liverati, Johann Joseph Rösler, and Francesco Morlacchi, while five of them come from some of his most popular roles in operas by Giovanni Paisiello, Antonio Salieri, Joseph Weigl, and Ferdinando Paer. As the common denominator in the aria collection, and as a singer whose voice was, somewhat paradoxically, not his most important calling card, Bassi provides an instructive example of how these arias may have been adapted in order to reach an audience. Together, the arias document what might be called Bassi’s ‘dramatic profile:' his preferred aria types as well as the types of characters, emotions, and dramatic situations that he excelled at portraying. I suggest that in reviving these arias today, performers are not always well-served by the 'urtext' culture that grew up in the twentieth century, largely in the service of the music of so-called ‘master composers’. Their scores often contain sufficient information for the needs of today’s performers, many of whom follow relatively recently established and successful codes of performance. But for the arias of lesser-known composers, the challenge lies in assessing what kind of performative flexibilities may have been applied by Bassi and harnessing them to reach an audiences today. I provide examples of how far performers may need to deviate from composers’ scores to achieve this aim and demonstrate that this is one way of developing the practices of historically informed performance. This is to use Bassi's unusual vocal profile as a stimulus for both historical speculation and practical experimentation.
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- Belgrano, Elisabeth, 1970
(författare)
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Mourning through the voice of Ottavia. Performing aesthetic experiences of a ritual
- 2014
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Ingår i: Interdisciplinary conference: Venice and Ritual, Princeton University, January 11-12, 2014.
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Konferensbidrag (refereegranskat)abstract
- The ritual of mourning became a central performance act in 17th century Venetian opera. According to Rosand “the lament embodied the operatic ideal” . Throughout history women mourners have traditionally been performing sounds of tears and sighs at funerals and in wailing songs from regions such as Mesopotamia, Greece, Saudi Arabia and Finnish and Russian Karelia. No matter of specific genre, vocal lamentation invites the singer to revisit lived experiences, memories and dreams, while simultaneously embodying this knowledge in the vocal performance act. Anna Renzi, one of the most celebrated singers in 17th century Venetian opera, was “endowed with such lifelike expression that her responses and speeches seem not memorized but born at the very moment.” How did she use memories, lived experiences and imagination in the very moment of performing a lamentation? As Ottavia she performed the passions of a queen in exile. As Renzi she mourned for having to leave her land and her family expelled from Rome by religious power. In this paper I exhibit a singer’s artistic process of vocally embodying Ottavia’s lament A Dio Roma from L’incoronazione di Poppea. Through the “very moment” of a performance act I demonstrate how the aesthetic experience of leaving, loosing and departing is knitted into a chaotic web of memories and imaginations linking the past with the future through presence. The purpose of this paper is to point out the importance of considering and defining the singer’s complex understanding and embodiment of aesthetic experiences when staging an opera production.
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- Leach, Maddie, 1970, et al.
(författare)
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The Grief Prophesy: Samtal om black metal, estetik och minne
- 2017
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Ingår i: Göteborgs Konsthall.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- As her contribution to GIBCA 2017 Maddie Leach has produced a remarkable 12” LP with a number of collaborators. Borrowing its title from a demo tape by black metal band Dissection, The Grief Prophesy focuses on a decommissioned water tower in Keillers Park in Göteborg where lead singer Jon Nödtveidt was involved in the murder of homosexual Algerian man, Josef Ben Meddour, on July 22 1997. Both Nödtveidt and his associate ‘Vlad’ were reportedly members of Werewolf Legion and the Misanthropic Luciferian Order (MLO), a small occult group with an extreme nihilistic ethos. 2017 marks 20 years since the murder took place. A devoted fan base has established a legacy and continued reverence for Jon Nödtveidt (who committed suicide in 2006) while Josef Ben Meddour remains a much more elusive memory, however their names remain forever linked. Maddie Leach is an artist from New Zealand. She is a Senior Lecturer at Valand Academy and currently Head of Unit for Fine Arts. Her practice is largely project-based, conceptual and research-intensive in relation to place-determined narratives and histories. Kristian Wåhlin is is a musician, graphic designer and album cover artist for many bands in the extreme metal scene worldwide and often credited under his pseudonym, Necrolord. Wåhlin created a suite of album covers for Dissection in the 1990s. Dr Thomas Bossius is Associate Professor in Musicology, Assistant Professor in Cultural Studies at Gothenburg University. His research addresses the function of music and religion in everyday life. His Ph.D. dissertation discussed the subcultures of Black Metal and Psychedelic Trance Music.
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- Öberg, Anna, et al.
(författare)
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To pass on as an artistic method
- 2022
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Konferensbidrag (refereegranskat)abstract
- To pass on as an artistic method is an ongoing research where Öberg explore passing on (Sw: tradera) as a concept and artistic practice, transfered from being an implicit pedagogical tool in the cosmology of folk traditions into a choreographic strategy for materials and composition in the contemporary choreography context. During this presentation Öberg and Misgeld will share some aspects of this ongoing research by using their artistic works: Solitude (Öberg, 2019), Living documents (Öberg, 2017) and Dancing Dots (Misgeld, 2022) as a backdrop.
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- Bergman, Åsa, 1972, et al.
(författare)
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Specific projects or gender mainstreaming? Discourses within a Swedish culture organisation with an outspoken gender-equality ambition
- 2018
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Ingår i: Music and Gender in Balance, 5-6 April, Tromsø.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- The lack of female representation in various music practices has attracted attention in research since the 1970s (Bayton 1989, Whitely 2000, Leonard 2007). In this presentation, based on a study of a culture organisation with an outspoken gender-equality ambition, focus is directed towards what ideas on music, gender, feminism and equality are articulated by different actors within the organisation. The preliminary result shows a negotiation taking place regarding what activities should be organised in relation to the stated ambition. While some actors promote specific gender-equality projects, others advocate that all music activities be permeated by a gender-equality perspective, and while some actors propose that gender equality should be considered in relation to a broader diversity work, others point to the risk that gender issues might be neglected when several equality aspects are lumped together.
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- Belgrano, Elisabeth, 1970
(författare)
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A lost queen, a desperate woman, a mad female singer: researching the voice of Monteverdi’s Ottavia through vocal sounds , sighs and observations on Nothingness
- 2010
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Ingår i: The Embodiment of Authority: Perspectives on Performances; 10–12 September, 2010; Department of Doctoral Studies in Musical Performance and Research, Sibelius Academy, Helsinki, Finland.
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Konferensbidrag (refereegranskat)abstract
- Abstract: With the musical manuscript of Claudio Monteverdi’s opera L’Incoronazione di Poppea in my hand, I search for vocal colors of lamentation and madness. Thorugh the vocal part of Ottavia I meet sounding paradoxes and multiple levels of identity. Silent observation was the preparatory method of the first performing Ottavia in 1643, the roman singer Signora Anna Renzi. Every sound that came out of her body, seemed not memorized but born at the very moment. Something made her performance different from everything else heard or seen on stage. She entered along with a new genre: the public opera. She was considered a symbol for Nothingness. In a 17th century costume based on a portrait of Anna Renzi, I allow my own vocal instrument, embodied by MIND, BODY & VOICE, to enter stage. In dialoue the Chorus of OTHER (various references) my journey through the manuscript introduces new sensations of practical physicality, emotions & passions, intimacy & wholenss of being through experiences as well as theories of Nothingness. The two lamentations I address in this lecture-performance, Addio Roma and Disprezzata Regina, tells about a desperate woman having to leave her love, her home and her life. But at the same time Ottavia’s words reflect the sorrow and pain of a 17th century female singer having to leave her home, her family and her life in Rome, being banned from stages by the Pope. The words and sounds of Ottavia become analogue with my own sensuous experience of having to leave home and family behind. When MIND meet VOICE and BODY from inside Ottavia, the 17th century score become alive. Words, notes, practice and theory become references and brings me back in history, meanwhile they make me observe my own presence in the moment of performance.
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