Abstracts
Eeva Anttila: Dialogical encounters
This presentation will explore dialogical encounters and the notion of thoughtful motion in the context of performance. I have developed this notion since finishing my doctorate in 2003. Through my doctoral study on dialogical dance pedagogy I discovered that dialogue, in its essence, is a pre-reflexive, bodily event that involves the whole person. Following Martin Buber dialogue can be conceived as a basic movement of turning towards the other that includes both an inner movement and bodily action. Thoughtful motion grows from bodily consciousness and body-mind integration towards social consciousness. It is conscious body movement, grounded in somatic, inner awareness. It entails an inner, wordless dialogue that mediates our experiences in relation to the outer world; it goes on while we relate to the world, the culture and other bodies around us. Bodily sensitivity coupled with thoughtfulness makes space for encountering oneself and others simultaneously. I see thoughtful motion is one possible interpretation of Buber’s “turning towards the other”. This movement originates from a desire to understand and care for others, and to enter a dialogical relationship with them, and becomes embodied in physical encounters with other human beings. This presentation explores the possibilities of such encounters in the context of performance: among performers, and in their relationships with the audience. As a practical case, the author will share some experiences from a performance lecture title Waking Up, held at Side Step Festival in 2009. The focal question for this presentation revolves around the possibilities and limits of dialogical encounters in performance settings, whether on traditional stage or alternative configurations.
Anneli Arho & Tuomas Mali & Jukka Rautasalo: A Pianist, a Cellist, a Composer. A trialogue in and about music-making
The starting-point of our contribution is the situation, which we can neither conceil nor ignore: we are a pianist, a cellist, and a composer. As a palpable act of musical collaboration, we prepare a presentation for the conference – not a paper, but a mixture of music and words, a trialogue in and about music-making. We share the creative process of preparing a presentation in order to have a close look at our ways of collaborating.
For us, the corpus of musicological texts acts as an anonymous and disembodied authority that is often hard to make sense of. Yet, we recognize that many persistent ways of speaking are quite apparently generated by that corpus. Feeling uneasy with the current situation, we are willing to make an effort in pondering conventions, conditions and consequences of speaking and writing about music making. For us, the emansipatory aspect is especially important: finding out how we really want to speak about our work would allow us to share our situation, our individual experiences of being a pianist, a cellist, and a composer.
Elisabeth Belgrano: 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
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. Through 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 the stage. In dialoue the Chorus of OTHER (various references) my journey through the manuscript introduces new sensations of practical physicality, emotions, passions, intimacy and 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 the stage 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 meets VOICE and BODY from 'inside' Ottavia, the 17th century score becomes 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 performing.
(This lecture-performance presents parts of a research-opera-performanceproject. In the cast: MIND, BODY, VOICE and Chorus of OTHER)
Ulla-Britta Broman-Kananen: Creating the Role of Lucia in Finnish: Emmy Achté’s Debut in Lucia di Lammermoorat the Première of the Finnish Opera Company
The Finnish opera primadonna Emmy Achté (1850–1924) made her debut in Viipuri 1873 as Lucia in Lucia di Lammermoor (Donizetti). The performance was at the same time the première of the newly established Finnish Opera Company. In a small autobiographical text Emmy Achté states, not without pride, that the staging of the character of Lucia “has been completely my own creation”. The statement could certainly be interpreted as an expression of her feeling of being a professional. Achté was namely the only one in the opera company who had studied the opera beforehand. Her statement is also in line with a nineteenth century pre-canonic opera-tradition in Europe, where the performances often were shaped to fit the primadonna’s vocal abilities and where the composer did not, as a matter of course, have the last word to say about the performance (Poriss 2001). A strong dramatic vision might, however, have been needed for the première also for other reasons. The opera sung in Finnish anchored the opera firmly in a nationalistic agenda, but inspite of this, the actual performance in Viipuri was indeed a cosmopolitan event: the libretto in Finnish followed (with some omissions) the Italian version of the opera while Achté had studied the French version in Paris; the score was in haste imported from Tallinn and the Swedish tenor Ludwig Ericsson did not know any Finnish at all. In addition to this, influences on the actual performance had come across from both St Petersburg and Stockholm, and the site of performance, Viipuri, was a town in eastern Finland, officially ruled by the Russian tsar.
In this paper I shall focus on Emmy Achté’s strong feeling of agency in relation to her role as Lucia, how she created this role both on and off the stage and what kind of choices and challenges she might have been confronted with. The research material consists of letters, newspaper critiques and the opera libretto in Finnish. Unfortunately her score has not been found. My perspective is micro-historical without forgetting the political and societal impact of the Finnish opera project as a whole.
The paper is an offspring of the research project “The Finnish Opera Company (1873–1879) from a Microhistorical Perspective” executed in collaboration with Anne Sivuoja-Gunaratnam, Pentti Paavolainen and Ilona Pikkanen.
James Bungert: Embodied Transformations in Piano Music
A great deal of music analysis approaches music intervalically; it conceives music as a thing isolated from our performing bodies and focuses on the static measured distances between atomic, individual musical objects (e.g. notes). An entirely different approach conceives music transformationally — that is, as something we do; it focuses not on quantified intervals between musical objects, but rather on the qualitative activity of moving through musical space between them. In his influential book Generalized Musical Intervals and Transformations (1987), David Lewin advocates what he calls a “transformational attitude,” which belongs to “someone inside the music.” This paper interprets Lewin’s attitude as a call to consider the physical actions of performers alongside more traditionally conceived musical phenomena, something Lewin himself never pursued in his publications.
Drawing on a twofold distinction of bodily space made originally by Merleau-Ponty, José Luiz Bermúdez (2005) posits two phenomenological processes differentiated by how the body’s physical boundaries affect its interaction with the external world: object-relative- and body-internal spatial coding. Object-relative coding uses a “frame of reference whose origin is some body part,” e.g. to reach for a cup requires a prior awareness of the hand’s location and its distance from the cup. Conversely, body-internal coding involves the phenomenologically transparent, non-Cartesian interior bodily space, e.g. used instinctively to scratch an itch. Assisted by Bermúdez’s distinction, this lecture/demonstration examines Chopin’s Berceuse, op. 57 transformationally, from “inside the music.” We discover two coincident musical cycles operating for most of the piece, which focus on slightly differing aspects of the same performance: one favoring aural musical space, the other favoring physical musical space. Near the end of the Berceuse, these two phenomenologically divergent cycles synthesize into a single holistic aural and physical musical experience with a much greater sense of musical depth than either cycle — or musical space — holds individually.
Avior Byron: Poetic perceptions of the performance of Huberman
Recordings give us some evidence of the sound that was produced in the first part of the twentieth century. In spite of the distortion of the recording mediums, often influencing tempo, pitch, dynamics, color and practically all musical parameters that were present in performance, there is a feeling that one actually is granted a rare glimpse into the past. Finding a rare recording of Bronislaw Huberman, for example, may be compared to discovering a rare old picture of one’s family member. Yes, it is black and white, and the focus may be distorted yet it does seem to communicate something of the past.
Bronislaw Huberman (1882-1947) was most famous student of Joachim. Huberman’s unique interpretations brought him great fame particularly in Central Europe. Huberman’s admirers included Brahms, Dvorak, Joachim, Furtwängler, and Toscanini.
I will present concert reviews and letters from listeners in order to explore one theme that reappears in relation to Huberman’s performances: the experience of music as something divine. The almost religious experience of music seems to me something that is absent the life of most contemporary listeners.
I will examine reactions to live performances of Huberman as they are reflected from reviews by literary figures such as Max Brod and Edmondo De Amicis, music critics such as Neville Cardus, as well as admiration letters from various listeners to the violinist.
I will cover aspects such as Huberman’s technique, his body language and appearance, and various aspects of his sound. All these aspects will be discussed with reference to their cultural and social significance. Excerpts from historical and rare recordings will be presented as examples.
Huberman is considered one of the most important violinists of the Twentieth Century. There is almost no research in English or in Hebrew about Huberman and no professional discussion of his recordings. This study will contribute to a refined understanding of Huberman’s early recordings, as various musical commentaries on contemporary musical and social trends.
Gregory Camp: Whose Monteverdi? Authority in Early Opera Performance
For much of the twentieth century, the ontological authority of opera (what an opera ‘is’) lay with an abstract and ineffable concept of the work itself, as imagined by its composer and librettist, which would be realised by singers, conductors, and stage technicians. Since the 1970s, however, this authority has gradually shifted away from abstract works to individual stage productions and their directors, so that we are now just as prone to speak of Patrice Chéreau’s or Ruth Berghaus’s Ring of the Nibelung as of Wagner’s. Though it can be seen across contemporary opera production, I argue that it is in early opera that this shift has been most strongly articulated. Using various recent productions of Claudio Monteverdi’s Ritorno d’Ulisse in Patria as examples, I shall examine this recent shift of ontological authority from abstract works to individual instances of those works. Because pre-Mozart operas like Monteverdi’s, popular as they are, are not standard repertory works and have short modern stage histories, directors like Jean-Pierre Ponnelle, Pierre Audi, and Peter Hall have, with their musical colleagues, felt freer to make radical interventions in their texts and music in order to convey an ‘unsettled’ directorial vision than they might with better-known operas, where the musical and dramatic text is usually treated as an unchangeable whole. So while Wagner’s Ring or Verdi’s La Traviata will usually be performed from musical scores as Wagner and Verdi composed or published them no matter what goes on on stage, the text of Monteverdi’s Ulisse has been much more contingent on the ideas the stage director or musical arranger has about its structure or goals. Practitioners have taken ownership of early operas like Ulisse where in the past they generally saw themselves as servants to ideal objects.
Kristin Carlson & Gregory Corness & Jonathan Aitken: Plan, Action, Collaboration: Creating a Hybrid Performance from the Ground Up
Collaboration in hybrid performance requires the intersection of multiple backgrounds and experiences of collaborators to achieve of a finished work. By exploring the creative process through a hybrid performance we can better understand how collaborators work together to formulate plans and execute actions towards a creative goal. The project, “Typographic Entanglement”, presented here explores the development of a ‘character’ personified through type. Through this project we examine the collaborative process of an interdisciplinary team negotiating individual research and design goals to produce a hybrid performance.
We base our analysis on two theories taken from design theory. Writings on Plans and Situated Actions provides a framework for analyzing communication and actions executed in the creative process. We apply this framework to evaluate the interactions between the designers, performers and the interactive technology. We combine this analysis with the theory of Distributed Cognition to examine how the collaborators intertwine their varied backgrounds, experiences and dependence on plans. These two approaches combine to provide a lens through which we can clearly see the effects of plans, situated actions and distributed cognition in the intricate inner workings of performance collaborations.
The collaborative process created a final performance that was substantially different than the initial imagined concept. We track the team’s negotiation of issues such as the abandoning and re-instigating of plans, the shifting, merging and changing of roles, and limitations and possibilities imposed by the technology. We see these negotiations as demonstrations of contextual design solutions. By exploring this process in a performance-as-research context, the complexity of transferring knowledge through communication and action can become more apparent. This study is analyzed through Participatory Autoethnography and collecting data through interviews, data logs, field notes and video documentation. Through examination of the inevitable components in one creative process there is potential application to others.
Nicholas Cook: Representing Performance Representing
Traditional musicology represents performance as the reproduction of works. In this paper I develop an approach to performance that reflects the constructed nature of all representation, showing how the iconic features that underlie traditional musicological conceptions of performance as reproduction function as elements within more complex semiotic economies. I develop this argument through discussion of the senses in which performances represent works, also drawing an extended parallel with the senses in which recordings represent performances. In particular I focus on what such an approach might mean for the definition of what I term the musical 'work in performance', generalising Jeff Pressing's concept of the 'referent' (which he developed in the context of jazz improvisation) so that it becomes a highly flexible model of performance in general. While traditional concepts of performance as reproduction may seem too old-fashioned to be taken seriously, they are still embodied in musical copyright law: I use the law's manifest shortcomings to highlight some features that it marginalises or denies, in particular creative intertextuality and collaboration, linking these to current developments in performance research methods.
Ana Dinger: Curatorship as conservation: the role of the curator in the preservation of the ‘identity’ of performance-based artworks
Preservation and presentation of contemporary (performance) art are closely linked together. A work has to be preserved in order to be exhibited and exhibition is a way of preserving it, assuring a place for it in (the collective) memory. Each presentation of an artwork is an essential part of its trajectory, influencing both the ‘reading’ of the past and the ‘writing’ of the future.
Multiple questions rise with the display of performance-based artworks. Where lies the ‘identity’ of such works? Is it established in the inaugural presentation; is it somehow captured in (one of) the frozen exhibiting moments, or does it rest somewhere in between or in the sum of all those temporarily stabilized framings?
The curator faces the difficult and often problematic choice between such disparate strategies as the use of documentation or re-enactement (or something in the interval of the two). Those options, like the ones pursued by conservators, made individually or in dialogue with the artist (or his/her representatives), are potentially responsible for either maintaining a pre-existing ‘identity’ (flexible as it may be) or altering it. Nevertheless, conservators are, unlike curators, often restrained by an ethical code (sometimes revealing to be obsolete or outdated).
How do different strategies of presentation articulate the work? What do they add (or lack)? And how can each new presentation relate to the previous (especially the inaugural)? How can we think the benjaminian aura in the context of successive, never identical (re)presentations of one work? What happens in the gap between presentations? Can terms as indexical, symbolic and iconic be useful and operative to reflect upon these relations and even open up for a possible taxonomy?
The relevance and applicability of these questions will be demonstrated using “The artist is present”, Marina Abramovic´s recent performance retrospective at MOMA as a case-study.
Leo Mar E. Edralin: Performance and Performativity of Class Identities and the (Dis)Embodied Narrative Voices in Autobiographies on Philippine Television
Dramatic adaptation of autobiographical or biographical material has firmly established itself as a popular genre in Philippine television history. Programs such as "Lovingly Yours, Helen", "Magpakailan Man" and "Maala-ala Mo Kaya" which span the 80's, 90's and the present have been regular fare for generations of television viewers in the Philippines. As an art form, the biographical drama has evolved to successfully integrate verbal, musical and visual modes of presentation to create this distinctive genre for television. As a cultural product, the biographical drama has become a locus of conversation among the different agents in the show, the producer/s andthe audience, who share a common social and economic reality.
This paper attempts to unravel some of the intertextual elements of the biographical drama on Philippine television. More specifically, it analyzes the narrative voice of the selected texts using the tools of Discourse Analysis, Literary and Film Narratology. Three recent episodes, for example, show that the personalities themselves (whose lives are portrayed in the episodes) have taken on not only the role usually performed by an “actor” but also the role of a third person narrator usually performed by the television show’s host. Appropriating Fairclough's genre-theory and Roland Barthes' semiology, these “discoursal innovations” are examined through a specific mode of the global economy, the migrant labor phenomenon, as it tries to answer the question, “What informs the development of the Filipino subject/individual found in these instances of fiction and reality?” The paper concludes that this Filipino "individual" particularly belongs to the working-class, who is increasingly becoming a beneficiary of actual or prospective migrant work, and who is simultaneously the subject, the author and the audience/reader of these biographical texts.
Cited Sources:
Barthes, Roland. Mythologies, trans. Annette Lavers. New York: Hill and Wang, 1972.
Fairclough, Norman. Critical Discourse Analysis. Boston: Addison Wesley, 1995.
Mika Elo: Tangents
My contribution to the conference is a performance entitled "Tangents". It is a performative study of the role of touching in the experience of art. It is a work in progress intimately related to my theoretical research on the cultural status of the sense of touch. The elements of the performance are speech (English), bodily presence, and an object that is touched by words, eyes and hands. The duration of the performance is approximately 10-15 minutes. The concept of the performance can be adjusted anew according to the space and context. Earlier versions of "Tangents" were performed at an Art Research Workshop (Theatre Academy), Helsinki, October 2009) and in an exhibition space (Forum Box, Helsinki, March 2010).
Thomas Gardner: The rehabilitation of schizophonia: social interaction, sound and media in the Automatic Writing Circle
The interaction between musicians has been one of the traditional strengths of music: it stretches to include an audience and ritual participants but has its origins in group activity, the interpersonal responses of one musician to another. This paper examines the way that electronic media have transformed the interactions between musicians, particularly in the context of live performance. A central theme is the way in which mediatisation creates new splits within previously integrated musical situations and also merges differences usually defined by physical boundaries.
The theories of Gregory Bateson on schizophrenia and Irving Goffman on Situationism are brought together to create a new understanding of the term ‘schizophonia’. This rehabilitated concept is proposed as the key to a creative exploration of new situations and discontinuities which make up group performance in a mediatised environment.
The particular work of the improvising group ‘Automatic Writing Circle’ (automaticwritingcircle.co.uk) is drawn on to illustrate some of the areas in which potentially schizophrenic states, involving splits and communication breakdown, have been recuperated to create a growing competence in hearing and responding to difference.
Eila Goldhahn & Soili Hämäläinen & Leena Rouhiainen: Collective Choreography Experimenting with a multi-modal approach
This paper describes the setting up of a new research project and is offered with the intention to stimulate discussion, questions and suggestions from the conference participants of The Embodiment of Authority. The Collective Choreography Research Group was formed in 2009 in Hamburg in order to develop a new approach to replace the singular authority of the choreographer with a way of choreographing that is uncompromisingly shared, collective and emergent and may even evolve whilst collaborates are in different geographical settings by the use of digital media. This interest follows the timely approach to dance-making that underlines a social form of choreography and discusses choreographers as frame makers. It views choreography as an interdisciplinary „creative act setting humans, actions, ideas and thought in relation to one another, to create or reveal order, channel energies, explore dynamics and create conditions for something to happen“ (Framemakers, 2008).
Each of the participants of this group brings their own expertise and practices to the group. Goldhahn’s MoverWitness Exchange (MWE, 2007) offers the group a ready framework that enables non-directive movement improvisation whilst guiding a non-judgmental and participative observing reception of the danced material.
Hämäläinen’s interest in the nature of bodily knowledge will focus especially on perception, sensations and feelings as a source for creative work. Bodily knowledge provides the ability to remember, reproduce and create movement. Rouhiainen has extensively explored artistic research as a collaborative and performative venture together with artists working in the field of the performing arts. She is interested in collaborative creativity and the emergent nature of artistic processes and co-relative knowledge production.
Whilst questioning the necessity of an individual, artistic authority method of working, the ‚how’ moves into sharper focus. How does the collaborative process evolve as a mode of performative artistic research, movement exploration? And how does the group’s shared aesthetic and methodological interest in Goldhahn’s Camera-Witnessing will be producing a mediated visual record of the work processes as seen by the three collaborators in their own and different ways? The negotiations between form and content, between method and outcome become the precipitous edge on which such a cooperation of collective choreography hinges.
Uri Golomb: Sermons in music or sacred opera? The reception and performance of love duets in Bach’s sacred cantatas
Bach’s sacred cantatas are often described as “sermons in music” – an image which downplays music’s power to communicate religious messages through expressive gestures and operatic drama. A particular challenge to this image is offered by cantatas whose libretti include dramatic scenes and dialogues – such as duets between Christ and the Soul, employing imagery inspired by the Song of Songs. Some commentators try to explain away this imagery, seeking to preserve a stern, theological Bach image; others see these duets as evidence for the link between Bach’s sacred music and more secular and theatrical genres.
My focus in this paper is on recorded performances, where a similar diversity of interpretations can be discerned. Different approaches to “technical” features (e.g., scoring, phrasing, tempo, dynamics, articulation, timbre) ultimately affect listeners’ perception of the music’s expressive character. They can be used to highlight or downplay potentially significant features in the music (harmonic tension and resolution, musical-rhetorical figures), as well as contributing a creative element that could further tilt the musical expression in one direction or another.
In this paper, I will explore selected performances of the duets from Cantata 140, and examine whether the musicians portray human characters engaged in an expressive interaction, or tend more towards the joint presentation of a single authoritative message. I will also address the attendant methodological questions – how one might justify the characterisation of a performance in these terms, and what importance should be assigned in this context to different types of evidence (listening-based analysis, empirical methodology, the performers’ history and background).
Maria da Rocha Gonçalves: Bringing vivid memory to expression through narrative construction
This research aims to go beyond the performers’ background knowledge concerning style and technical issues by actively searching a way of connecting their personal imagery to musical meaning construction. Deep personal involvement in the construction of a musical narrative, that is, the process of incorporating musical meaning, seems to be a determinant factor to achieve an expressive, communicative performance. So the author hypotheses that if the musical narrative is built upon a rich frame of different personal associations, it will have personal adherence, will lead to successful memorisation and, more important, will enhance expressivity in the performance.
In order to try this hypothesis, the teaching methodology proposed by Correia 2007 was taken into consideration. In this methodology, the process of contextualisation aims to explore meaningful cues, which, hopefully, will trigger the desired expression. But, because musical meaning constructions result from the association of the musical gestures to personal meanings, each performer should select what for him/her is meaningful. Personal experience would be in this way connected to performance through the use of metaphorical projections and would have determinant influence on long-term memory due to the intrinsic performers’ emotional envolvement. Thus, in this paper it will be explored if an emotional narrative can work as an effective tool to memorise both musical structure and expressive cues at the same time.
The presentation has the following structure: first, a theoretical discussion, based mainly on the works of Chaffin, Johnson, Correia and Holmes, where it is argued that elaborating a musical narrative can re-enforce expressivity as well as lead to improve memorisation; second, the author reports and discusses the results of a reflexive case study where she uses different paintings as inspiration to constructing a musical narrative and help memorisation for the Prokofiev second Violin Sonata.
Sheila Guymer: Pinning the Butterfly? Elucidating authority through analyzing interpretive choice
Robert Schumann’s solo piano cycles pose numerous challenges for their interpreters. Their obsessive rhythms, range of topoi, fragmentary structures and open-ended forms, discontinuities and ambiguities provide a rich context for studying the choices that performers make in communicating structure, and in balancing unity with contrast across a performance.
My aim is to examine how discrete details in a performance contribute to a unique interpretive view of a work. My research uses techniques of close listening (supported by computer technology developed at CHARM) to compare and contrast nuances and patterns of timing and volume, both within and between selected performances.
This paper focuses on selected recorded performances of Schumann’s Carnaval, such as those by Arrau, Cortot, Michelangeli, Rubinstein and Solomon. Each of these pianists embodied an authoritative understanding of Schumann’s style honed through their years of experience of performing the composer’s works.
Building on research led by Daniel Leech-Wilkinson into expressive gesture and style in recorded performance, this paper discusses the selected recordings in the light of John Daverio’s five- layered hierarchical analysis of Schumann’s “system of musical fragments": quotation, the Kater Murr Principle, Selbstvernichtung, Humor and Witz. This paper also draws on various discussions of topoi, structure and rhythm in Schumann’s composing style.
Finally, given that valuing plurality of creative vision rather than seeking a definitive interpretation aligns with Schumann’s own aesthetic privileging of ambiguity, this paper suggests that it is possible to develop a deeper understanding of the aesthetic principles of Schumann’s style by analyzing the choices made by skilled interpreters of his music.
Yrjö Heinonen: Crossing the Implicit Barrier - A Case Study of Arja Koriseva’s Live Performances
In theatre and concert hall there is an implicit contract, which separates the performer from the audience. In theatre, this separation is architecturally institutionalized by the ramp. In many concert halls, a podium acts like the ramp. Even if there is no ramp or podium – which is the case in many concert halls and multi-purpose venues – there is an implicit (conventional) barrier between stage and audience.
Crossing this barrier has not been entirely uncommon since the performance art movement of the 1960s – neither in theatre nor in concert hall. In my presentation, I will explore the ways in which the Finnish popular singer Arja Koriseva plays with, questions and crosses the barrier in her live performances. The exploration is based on fieldwork.
Koriseva is one of the most popular Finnish female popular singers, but her popularity is based on live performances rather than on record sales. In most performances, she uses most of the stage space, often playing with or questioning the barrier between stage and audience. Moving close to, stopping at or crossing the barrier often results in local-focus where she performs before and primarily to a certain fraction of the audience. In some instances, when returning to the stage after a break, she begins to sing in the dark while walking to the stage through the audience. In one instance, she walks and runs across the entire audience, occasionally stopping to sing to certain fractions of the audience and shaking hands with audience members. Some of these instances will be illustrated with photographs, diagrams and video examples.
Playing with, questioning and crossing the architecturally institutionalized or implicit barrier between stage and audience can be seen as one reason for the reportedly strong sense of presence in Koriseva’s performances and, consequently, for her popularity as a performing artist.
Pauliina Hulkko: Bodies Speak – Words Move
This participatory lecture treats the multifaceted relationship between perception, speech and embodiment, as viewed and examined through an artistic-pedagogic practice. It is based on my ongoing research on the notion of choreophony – a self-made notion which refers to speaking out loud (Greek φωνή, ‘voice’) about dance or space (Greek χορεία), as opposed to choreography, which literally and historically stands for ‘writing a dance or space’. This research arose from a director’s frustration; while I had wilfully made room for the performer’s perception and its various manifestations in the performance making process, there seemed to occur this constant gap between her bodily experience and the language in which it was discussed. Surely, I was theoretically familiar with the problem, but now I started asking how we could approach the relationship between language and body in collaborative ways within the artistic sphere. At that time, I saw this mainly as an ethical question. The implications of this enquiry are, however, more far-reaching. Besides the very performance practice, they encompass issues of performance politics and ethics as well as areas such as cognitive science (which is of no personal interest to me but might be discussed in relation to this phenomenon).
Consequently, I have made several attempts to create mutual understanding – together with performers, researchers and students of performing arts – of, first, how individual sensory perception is spoken of, and, second, in which ways this spoken language is experienced as a means of new kinds of bodily sensations, which then might be turned into a corporeal performance, presumably of an altogether different quality.
The participatory lecture consists of a short introduction, a small experiment performed together with the audience, and a set of reflective remarks.
Falk Hübner: Shifting Identities - The musician-performer and the composer-director
Since performance art and the Instrumental Theatre movements of the 1960s onwards, musicians have been exploring their role as theatrical performer, and expanded their profession greatly. Nowadays it is not unusal for musicians to be asked for a vast range of performative tasks with or without their instruments besides their core profession of making music. Due to the nature of most theatrical works with musicians as performers, the role and function of the composers has changed as well. From the early 1970s on many composers decided to personally direct their pieces, to do the mise en scènethemselves; among them Mauricio Kagel, Georges Aperghis and Heiner Goebbels.
In many contemporary music theatre projects musician-performers are closely working together with the composer-director during the whole creative process; the musicians are becoming important co-creators in these vital and manifold forms of exchange and collaboration. The paper will discuss several contemporary collaborative approaches in recent projects by Heiner Goebbels, Jan Lauwers and Michel van der Aa. Falk Hübner will discuss these different models - clarified by video excerpts - and give examples of his own practice as composer and director of experimental music theatre and performance works. What is actually happening in these creative processes between maker and performer? How are the collaborative relationships between musician-performers and composer-directors still changing and developing, and what are the aesthetic results and benefits of this shared authority? As a practitioner's account, the paper will reflect on the difficulties and challenges for both musicians and composers in experimental frameworks: how does it actually work in practice, when the relationships between musician and composer are not yet clearly defined, and have to be found for every work anew?
Ville Iivari: The relation between clave pattern and violin improvisation in Santeria’s religious feasts
The distinctive colour of the Afro-Cuban music derives partly from the rhythmic features, which include the clave rhythm as the underlying rhythmic ostinato. The clave pattern is considered as a rhythmic cell, which guides the other rhythms, in other words, the rest of the rhythmic lines appear in relation to it. This is obvious in tunes previously composed and in musical arrangements. But what is the role of the clave in the course of performance? How does the improvising musician notice the pattern when playing the solo?
Hanna Järvinen and Anne Makkonen: Speaking, moving, dance: Incorporated language in practice and research
Verbal language is a central tool for teaching dance, yet dance as an art has often been defined as non-verbal and even preverbal with the result that the words used of dance have received little scholarly attention. What are the encounters between language and body, speaking and moving in the rehearsal studio or at a lecture hall?
Dance practice incorporates past authorities in a tactile manner that is often left unarticulated in dance history. Our joint presentation will address how to use studio practice as a source and a method for dance history, and discuss what kinds of historical traces remain not just of corporeal performance but in the bodies performing, remembering and researching performance. Using metahistorical and genealogical approaches, we want to challenge what in the past of dance is considered of importance to the present-day practitioners that we teach.
Päivi Järviö: Music moves in me – The singing body as interior movement
As a performer of so-called early music I approach my subject, Early Baroque recitar cantando (speech-song or speaking in song) from the point of being of a singer, as a singer. With the French phenomenologist Michel Henry I understand the music, the facts of performing practice and countless other things as continually entering my living body from the world, sinking into me and becoming an organic part of the whole of my living, singing body. Everything I know about this music and about performing it is in me as knowing of a singer, not as knowledge that could be shared by anyone.
The singing body is a body skilled in interior movement. The singer works with this interior movement and the resistance felt in her body connecting to the whole of her singing body, to all her experience with and knowledge of the repertoire she is working on. For the singer reading the score, the signs on the page instantly turn into interior movements of her body. Further, all the theoretical knowledge of the repertoire in question becomes flesh in the living body of the singer thus blurring the split between theory and practice.
The subject of my autoethnographic study is this interior movement of my living, singing body. The material of my study is my singular, live experience and embodied knowledge present in me at all times, not the words on experience gathered as material in advance and disconnected from the embodied experience.
In my presentation I discuss the experience of singing a fragment from Monteverdi’s Orfeo (1607) focusing on the four exclamations at the entrance of Messaggiera in Act II.
Hanna Kaikko: Making it audible to the culture”: Documenting and releasing freely improvised music in the Finnish underground scene
This paper discusses how improvisers in the current freely improvised music’s scene in Finland perceive the connections between performance, documentations and releasing.
In the mid 1950s, improvisational music making methods and methods of composing began again to gain foothold in music in Western Culture. Freely improvised music (named also European free improvisation) has its close connections to jazz but also to experimental and avant-garde practices in contemporary classical music. Since the 1960’s, this genre has been shaped by events, released recordings, popular and scientific articles and other types of documentations. Freely improvised music in the Finnish underground culture is also connected to this more mainstream tradition.
The presentation is based on ongoing musicological dissertation research and it seeks to answer two questions. First, what are the personal and shared motives for documenting improvisations and second, what are the personal and shared consequences of documenting and releasing improvisations.
Assi Karttunen: The Painting on a Skin
The two famous French eighteenth century art aesthetics Jean-Baptiste Dubos (1670-1742) and Charles Batteux (1713-1780) have differences in their opinions concerning expression in performing arts. These differences reflect an interesting transitional phase taking place in the middle of the eighteenth century and concerning expression. I am going to study some of these viewpoints.
Notes:
Batteux, C. [1746] 1753. Les Beaux-Arts reduits à un même principe.
[…] et si quelquefois il arrive que le Musicien, ou le Danceur, soient réellement dans le sentiment qu´ils expriment; c´est une circonstance accidentelle qui n´est point du dessein de l´Art: c´est une peinture qui se trouve sur une peau vivante, & qui ne devroit être que sur la toile. (Batteux 1753, 178.)
(…) and sometimes it happens that the musician or the dancer really feel the sentiment they are expressing; this is a coincidence which is not at all intentional in Art: it´ s a painting that has been painted on a living skin although it should be painted on a canvas.
Dubos, J.-B. [1719] 1737. Réflexions critiques sur la Poésie et sur la Peinture
Pourquoi les Acteurs qui se passionnent véritablement en déclament, ne laissent-ils pas de nous émouvoir & de nous plaire, bien qu´ils aïent de défauts essentiels: c´est que les hommes qui sont eux-mêmes touchez, nous touchent sans peine.
Why the actors reciting truly emotionally still can move and please us even if they do it essentially inadequately: the reason is that men who are touched by an emotion move us effortlessly.
Les Acteurs dont je parle, sont émus véritablement & cela leur donne le droit de nous émouvoir, quoiqu´ils ne soient point capables d´exprimer les passions avec la noblesse ni avec la justesse convenable. (Dubos 1737, 39.)
The actors that I´m talking about are really moved and this gives them an ability to move us even if they are not at all able to express the passions neither in a noble manner nor accurately.
Stefan Knapik: ‘String-Song’, the Singer, and Self: Notions of Embodied and Metaphysical Subjectivity in Early Twentieth-Century Violinists’ Discussions of Tone
A critical study of historical discourses of musical performance can reveal a complex of culturally-received beliefs and ideas underpinning the practices, and as such constitutes an important means of expanding the analytical study of sound recordings. The word ‘tone’ commonly features in contemporary reviews of concerts and recordings, but many of its accompanying adjectives find their true heritage in discourses of the late-nineteenth and early-twentieth centuries, when ‘tone’ (German, Ton) does not merely denote sound production but is closely aligned, I argue, with varying nineteenth- and early twentieth-century notions of subjectivity. In their pedagogical treatises (1905, 1921), Joseph Joachim/Andreas Moser and Leopold Auer combine a particular definition of tone, namely the revealing of one’s character through one’s voice, with the nineteenth-century metaphor of song as vital energy, to produce an abundance of often conflicted ideas regarding violinistic practices, which range in kind from the metaphysical to the embodied. The ideal and material assumes a further philosophical garb as the subject-object dialectic, with which these violinists are able to conceive of the simultaneous opposition, struggle and reconciliation of ideals of subjectivity with embodied practices. Although notions of mind/Geist/genius lead the authors to promote a self-construct of the violinist as autonomous, superior, authoritative, and inimitable, their discourse nevertheless reveals a performance ethos that is multi-vocal; singing tone gives voice to dead composers, it requires the sympathetic response of living listeners, and creates a dialogue with the singer, to whom the violinist’s response ranges from direct imitation to a calling forth, alongside the singer, of cosmic song. In closing I indicate how such ideas about tone played a key role in shaping the ethos and practices of both the mainstream and Early Music camps later in the twentieth century.
Heidi Korhonen-Björkman: The Two-Voiced Performer in Betsy Jolas's Piano Piece Mon ami (1974)
Betsy Jolas's (1926–) piece Mon ami. Ariette variée à chanter-jouer pour pianiste femme ou un enfant (My friend. Ariette with variations for a female or child pianist to play and sing) contains a piano part and a vocal part. The two voices are to be performed simultaneously by the pianist alone. In contemporary music in general, it is not uncommon to include a vocal part for an instrumental musician. However, the realisation of this technique is unique in Mon ami, as it makes a mixture of a Lied and an avant-garde piano piece. The vocal part consists of a tonal song melody, but it is not a complete, independent entity: after the solo character introduction the fragile melody is fragmented, little by little, and supplanted by the stronger piano part. In my presentation, I focus on the technical, musical, and performative challenges caused by the integration of playing and singing. The challenges might result in a feeling of abnormality in the pianist's body: the production and the sound of the vocal part disturbs the interaction between the pianist and her piano. I also consider the impact of the two-voiced identity of the pianist on her physical presence and means of communication at a performance.
Tiffany Kuo: The Listening Experience of Luciano Berio's _Sinfonia_
Luciano Berio’s _Sinfonia_ is best known as a work of pastiche or collage, interweaving musical and textual quotations of the past and then present into a performance of various musical meanings. Many scholars have deciphered the texts using musical and textual evidence to shed light on Berio’s intent. However, the reviews of the world premiere focused not on the text, the music itself, but towards the experience of the listener. One reviewer urged his readers: “Please listen. For yourselves.” Another reviewer echoed the text, “keep going, keep going,” regardless of how much one can “comprehend.”
This paper places the spectator as the subject and author of the world premiere in 1968. In the program notes, Berio defined the title as “sounding together;” Sinfonia is an action word, derived from the verb sinfoniare, meaning “to compose or to perform a symphony,” telling the spectator what to do. In this paper, I propose that the spectator’s hearing of _Sinfonia_ is a type of authorship, that which Berio imposed on the individual, soliciting action from the spectator: to compose and perform the work in her own mind. And, it is this personal stake of authorship in the listening experience which illuminates another type of musical meaning, one that is away from the music itself and towards the listener and her experience.
Juho Laitinen: Electric cello as a means of practical experimentation
In this presentation I touch on the concepts 'new' and 'experimental' music. In this context they are not limited to musical works of certain periods, genres or styles – rather, they express a more general approach to understanding and performing music.
The terms 'new', 'modern' and 'contemporary' all have complex implications that merit discussion elsewhere. I focus on the 'new' that for me contains an idea of surprise for the performer, too. All creative work, making art included, ought to have an element of curiosity and playfulness, regardless of genre.
Being curious and playful means for me being experimental. An important tool for such an experimental musician is improvisation, which can be practised in all styles, on all scopes of detail or generality.
In this presentation I will make use of an electric cello, that (because of its limited possibilities to emulate its acoustic precursor) almost makes it necessary to search for novel ways to use the instrument for musical purposes. Because I'm a cellist by training, the technical similarities between the acoustic and electric instrument make it easier to put findings of this searching to immediate artistic use, even if the familiarity also possibly limits one's imagination and therefore the findings.
However, in long-term artistic practise it seems necessary to accept the paradox between keeping the old and established and having the freedom to unprejudiced and courageous searching of new sounds.
Catherine Lee: Reeds: Play Within Shared Authority
Reeds is a site-specific work inspired by the soundscape of Newfoundland. It unfolds as a collaboration between three forms of artistic expression; composition, dance and instrumental performance. The score for this thirty-minute work is based on sounds heard in and around Oxen Pond, St. John’s (NFLD, Canada) throughout the course of a year. Many of the sounds, such as birdsong, are difficult for humans to really understand and appreciate due to their pitch, speed and volume. By slowing down and amplifying certain aspects, composer Emily Doolittle “transcribed” instrumental versions to create a framework for improvisation by oboist Catherine Lee, clarinettist Louise Campbell and bassoonist Alexandra Eastley of the Umbrella Ensemble. Dancer Camille Renardh drew inspiration from the music and the site as she used movement to demonstrate the existing variety and possibilities. The cumulative effect of Reeds is one of a shifting magnifying glass as different aspects of Oxen Pond are illuminated.
During my lecture demonstration I will speak from the perspective of a performer addressing practical issues, the collaborative process as it unfolded during our preparation/performance and the larger philosophical basis for Reeds. I will elaborate using commentary from collaborators, original sound sources, sound recordings, scores, pictures, video and instrumental demonstration. The acceptance of shared authority is central to this collaboration, furthermore our imaginations were captivated by the possibilities inherent in voicing the many levels of relationships co-existing within and between the site, score, composer, instrument, notation method, musicians, dancer and audience. Through Reeds we experience the site of Oxen Pond with all of our senses, the music and movement that unfold as a creative interpretation of these surroundings and the conversation between the whole and the parts as they emerge. We are made aware of the many possibilities of movement, sound and personal expression in our daily lives.
Olivia Lucas: Living Music: Voice and Immediacy
Every voice is the product of its body, shaped uniquely by the teeth, lips, nasal cavity, vault of the palate, throat, etc. That is, every voice is the out-going expression of its body; voice is body and expressed body is voice. No voice can be reproduced, but only recorded, played back, imitated or manipulated. The voice is now, and now only – it is live and alive, a through-time experience that stymies adequate linguistic description and analysis. Voice is also the interior made exterior, the soul going out into the world through the body. Voice is that of us which can escape ourselves, but is bound always to die with us.
Given the lateness with which performance scholarship has developed a willingness to deal with the body, the privileging of instrumental over vocal music among music scholars is unsurprising. The writing on vocal music largely attempts to treat the voice either as if it is any other instrument, a technological extension of the player's body, or in some other technologically mediated form, whether recorded, or electronically manipulated or generated.
Drawing on my own experience and knowledge of the physical process of singing, I attempt to move toward an understanding of the musical voice that incorporates the way the life-fullness of the body informs and even defines how we think of music as having the potential for “life” or “liveness.” Turning to examples from both popular and classical music, I explore the voice's power and aural salience, in the way that it directs attention in musical performance.
The challenges surrounding the corporeality and temporality of voice are in many ways metaphoric of the difficulties inscribed in performance scholarship. I posit the voice as a useful starting point from which to pursue the immediacy of the listening/performing experience.
Niels Windfeld Lund: Experimental Art Analysis: the case of World Opera
A document need not to be a written statement. That is just one tradition out of a number of different conceptual traditions, related to the rise of modern bureaucracy in the 16th century. If one goes back to the Medieval time, 13th-14th century, one will find a completely different understanding of the document, as "example, model, lecturing, teaching and demonstration". Within this understanding, both an oral lecture and a musical performance or a dance, may constitute documents themselves, even without being preserved. In order to include several conceptual traditions, one can take the Latin word "Documentum" and decompose it into the verb "docere", to show, teach, demonstrate and the suffix "mentum", means/tools, and develop a broad definition of document saying it is a result of some efforts to show, demonstrate (docere) "something" by using some means (mentum. This broad conceptual approach of documentation opens up for an understanding of a rehearsal of music, dance or theatre as a "work-in-progress" document and the final performance as one core document in a complex of interrelated documents in different formats and media, having two important consequences. Firstly, artistic documentation becomes an organic part of the very creative process itself instead of something external to the artistic work. Secondly, it can support a new form of art research, an experimental art research in which you are exploring and studying different solutions to an artistic project, like the World Opera project, based at the University of Tromsø, Norway. It is an international project with several opera houses, opera academies and technology labs exploring different ways of producing opera. The very opera production is considered a research process in which you for instance can produce 3 different test versions and discuss what and how they are using different artistic means to show the plot.
Christian Matjias: The Rejection of "Memory-as-Authority" in Dance Reconstruction
The use of notation as a means to preserve a work of art for future study is uncommon in the field of dance, and so the reconstruction of a dance work depends largely upon the memory of those who participated in the dance at various points in its history. Peggy Phelan's claim that "performance's only life is in the present" resonates loudly in this field, where memory serves as the principle historical record of any performance of the work. Unlike many other performing arts, dance operates on the premise of memory-as-authority, which is problematic for various reasons to be discussed in the course of this presentation. My objective will be to advocate for a form of dance notation, and thereby shift authority away from subjective recollection to a notated score.
If memory is authority, the participant is the instrument in its initial creation, representing greater authenticity and importance over the participant whose memory of the work comes from a later time. Resulting in a hierarchy across multiple generations of memories, a “cult of personality” is created; where memory-as-authority allows for an illusion of greater importance and provides a layer of immunity against criticism or question.
Since the early 17th century, there have been attempts to notate and record movement. Though no single form of notation has been adopted across the field, Labanotation, Rudolf Laban’s system of recording and notating movement, published in 1928, has seen wide use in the field. Though hundreds of dances have been notated and made available, labanotated scores are considered by many to possess less authority than memory.
I will illustrate various inadequacies in accepting “memory-as-authority”, by demonstrating a methodology constructed of five components: Memory, Notation, Video, Oral Traditions, and Music; that enhance rather than replace memory, and challenge certain beliefs and practices in the field.
Guerino Mazzola: Flow, Gesture, and Spaces in Free Jazz
Following my book "Flow, Gesture, and Spaces in Free Jazz" published by Springer/Heidelberg 2009, I present a theory of gestural embodiment in Free Jazz, which views music in the making as an embodied thought experiment. In the ideal case, the dynamics of gestural interaction within musical spaces creates that magic and authoritative axis around which music rotates in the flow. Such embodiment creates a distributed identity of passionate agents. Our approach refers to French gesture theorists, such as Paul Valery, Jean Cavailles, Gilles Chatelet, and Charles Alunni. I shall illustrate the theory by a piano recital as an internationally recognized free jazz pianist in the tradition of Cecil Taylor, see http://en.wikipedia.org/wiki/Guerino_Mazzola for references to scientific an musical publications.
Mark McFarland: Stravinsky's "Etude pour Pianola:" A Case Study in Compositional Authority
One of Stravinsky’s lifelong preoccupations was with the elimination of interpretation in order to preserve his sole authority over the score. This preoccupation explains the composer’s otherwise curious interest in the pianola, for which he wrote an Étude in 1917. With a mechanical instrument, interpretation would be eliminated and the composer’s intent would be accurately transmitted.
In 1919 Stravinsky had Ansermet listen to the work performed on the pianola in London in order to get feedback. Ansermet’s letter is critical of the instrument, and he also comments that “one feels the intervention of the performer.”
It is interesting to speculate on the difference between what Ansermet expected to hear and what he actually heard, as this relates directly to compositional authority. This paper focuses on the analysis of and comparison between recordings of the Étude performed on the pianola and piano 4-hands. The arrangement implicitly recognizes the pianola’s technical superiority; rapid rhythms and counterpoint were rewritten in order to accommodate human limitations. In spite of this, the human performance of this work is more successful.
The pianola performance of this work was intended to convey the composer’s authoritative message, yet it fails due to the instrument’s limitations. The human performance, on the other hand, is successful since the pianists strictly obey the composer’s performance indications and produce a note-perfect recording. Ironically, this result is the opposite of Stravinsky’s expectations.
This paper concludes that Stravinsky’s work with the pianola and gramophone and as both conductor and performer, while invaluable for music lovers worldwide, ultimately stemmed from an incorrect assumption on his part regarding interpretation. As the human performance of the Étude suggests, the only requirement in order to maintain the composer’s sole authority over the score is an intelligent performer willing to surrender their own voice to that of the composer.
Anna Maria Monteverdi: Racconti del Mandala: concert'action for voice and datasuite: an example of interactive story telling
XLABFACTORY (ANDREA BALZOLA ANNA MONTEVERDI MAURO LUPONE) work in the border between physical theatre and digital interactive system.
We represent one of the most experimental group engaged in DIGITAL PERFORMANCE in ITALY. Every of us teach in ACADEMY of FINE ARTS, dpt of NEW MEDIA, write essays and books about MEDIA ARTS.
RACCONTI DEL MANDALA (December 2007) is an experiment of digital story telling that uses a body suite with sensors; the performer could use significantly movements for changing voice and sound, changing non linear video, and narrative paths.
Based on a hypertext by ANDREA BALZOLA, it has 7 stories linked to 7 characters and several panorama and moods, around which the performer could ceaseless and interactively change the visual and sound situation.
http://www.flickr.com/photos/xlabfactory/
http://www.youtube.com/watch?v=FRYDmrah0fM
Lina Navickaite-Martinelli: “Creative lying” and Other Ways to Signify: On Music Performance as a Creative Process
Two main questions are the focus of the present paper: first, how a musical performance might be conceived in semiotic terms; and, second, what elements of the music performer’s art allow to consider his/her activity a creative (as opposed to mere re-creative) process.
The first step consists in taking into account that, while dealing with the art of music performance, one should be able to sort out what meanings stem from the musical work itself, and what is the performer’s input. Accordingly, it should be possible to extract the meanings emerging from the opus in se, the modalities of the musical work; the meanings produced by the performance (e.g., how a performer modalises the piece, what kinds of effort produce certain new significations); what are the elements that operate in the activity of the performer as cultural figure.
Then, some of the performative and interpretative strategies of current artists dealing with the piano works of the Western art music canon will be demonstrated. Using as reference material both the analysis of the interpretations and interviews with the pianists, their attitudes towards the role of a performer in the process of interpretation and performer’s relation to the composer/work will be discussed. The art of musical performance is conceived here as a distinctive type of creation, through which the creative ideas, insights and convictions of a performer are conveyed.
Jean Penny: Concurrent Realities: Performative Readings for Flutes with Digital Technologies
As the performance practice of the solo flautist has expanded to encompass an extensive array of elements – instrument, electronics, spaces, partnerships, new exchange and computational processes – the performance has become a crucial epi-centre of exploration. From within this ‘site of discovery’ a platform is created from which to investigate elements of enactive performance practice, transformed modes of expression, sonic and performative layers, and the expanded territory of the score. Through the prism of notated composition, this paper examines the significance of notation for the meta- flautist entity in two contrasting works for flute with electronics: Mario Lavista’s Canto del alba (1979) for amplified flute, a performance analysis centering on the score and personal annotations; and Warren Burt’s Mantrae (2007) for flute and live interactive electronics, composed for this author. Mantrae combines notated chant and physical movement transformed into chaotic sonic forms, as shifting relations of the self to a digital other are activated through motion capture and sound modification, using Plogue Bidule and Cycling 74’s Hipno. Performative and personal connections to score are traced through reflective narrative, journal notes, analysis and performance, revealing multilayered perspectives and constructs.
For the flautist/researcher, personal goals and concepts of concurrent realities in performance and performative writing collide and disperse through encounters with notes, the gestures of breath, the provocations of electronics, immersions and impressions.
Multidimensional performance ontologies emerge as experience of performance: the tensions/flow, bodymapping/notational charts, instabilities/directional imperatives, performative habitats/ composerly intent and ideals. Entwining this experience with responses to score from an auto-ethnographic, practice-based stance the performative journey as research journey presents a personal account of instrumentalist-digital technologies-score intersection.
Della Pollock: Performance Epistemologies
Performance, unmoored from the resilient claims of objectivism, opens logics of relationality, potentiality, and sensuous contingency. It challenges certainty with possibility and surpasses the dichotomy of abstract knowing about and concrete knowing how with the emergent conditions of knowing with. This talk explores, and ultimately recommends, alternative performance epistemologies through reflection on aspects of a 10-year ethnographic partnership with an African-American church in a formerly segregated area of a university town. Exploring the convergence of multiple performances and performativities—ritual, race, and witness, among others—the talk advances a view of embodied authority that refuses conventional exclusions of faith and that embraces the proximity of methodology and epistemology in performance.
Pilvi Porkola: Exercises Learning To Fly II
I was invited to take part as an artist in the international project “Side Effect Lab”, which took place as one of artistic shifts at PSi#15 conference in Zagreb 2009. In “Side Effect Lab” our aim was not only to investigate side effects of the conference but also create them through artistic interventions. Also we were thinking how to understand artistic research here, in what we are doing.
In this framework I created some scores with a title “Exercises Learning to Fly”. It was a participatory work focusing on relationship between performance and text, act and its documentation and art practice as research method.
The feedback I got from my act was not all positive. People who participated didn’t understand relationship between theory and practice in my work. It made me rethink and clarify my method and its background.
In my paper I will focus on artistic research in a context of Performance Studies. I develop artistic research as a method using terms from feminist philosophy, especially via feminist methodology and epistemology and adopting them to observations of practice-led research by Brad Haseman. Following Donna Haraway’s thoughts of situated knowledge I will consider what does situated knowledge means in a context of artistic practice and how it affects both theory and practice. Further, I explore a relationship between practice and theory in my own work and sum up the importance of self-reflexivity as one of methods of artistic research.
Ari Poutiainen: Silence Hidden by the Music: Tools of Teaching, Studying, and Performing Instrumental Group Improvisation
During the last decades the status of improvisation has been reestablished in the curricula of classical music performance. Through basic improvisation studies such performance and expression aspects and issues as “interpretation”, “presence”, and “flow”, for instance, can be approached in practical and refreshing manner.
The amount of tested and well-argumented pedagogical material for studying improvisation (especially in a group) appears to be somewhat minor. Regarding pedagogical jazz literature, for example, there seems to be little material for teaching and studying the basics of improvisation within an instrument ensemble.
In my artistic and pedagogical work, I have developed and designed approaches for teaching, studying, and performing instrumental group improvisation. Many of these approaches I have tested both with groups of degree students of instrumental classical music performance (i.e., students with limited previous experience in improvisation) and groups of established professional improvising instrumentalists. While it can be argued if my approaches convey that much new information on group improvisation, the artistic and pedagogical achievements suggest that something has been accomplished in clear and inspiring communication.
My presentation includes an introduction of two texts, “Musical Variables” and “Preparing a Musical Performance Including Improvisation”, that can be employed both as pedagogical tools when teaching improvisation or artistic tools when constructing improvised performances. These tools will also be demonstrated in short live performances by a bowed string instrument trio consisting of two students and the presenter. These texts also introduce my publication project striving to collect and summarize valid pedagogical material for instrumental group improvisation. The publication carries the working title “Silence Hidden by the Music”.
Anthony Pryer: Performance as the Bermuda Triangle of Musical Ontology: Scripts, Real Presences and 'Musicness'
The authority of a performance is different from that of the work performed. But before we accept this separation as some kind of panacea, we should recognize that certain traditional concerns are philosophically rather hard to eradicate. First, the ‘live’ quality of performances will still need to be distinguished from other ‘live’ action or event ‘ontologies’ such a tree-felling or conferencing – and that is likely to lead us back to musical content in some form. Second, if the performance is the work, then no work will persist beyond its first performance, and the art of performance will merge imperceptibly (but not without loss) into performance art. Third, if on the other hand the work is defined as the sum of its performances, how are we to know which performances belong to the relevant class without reference to some shadowy notion of the work ‘itself’ - and what could those performances possibly be ‘interpretations’ of, since the work does not ‘exist’ until they have all ended? Finally, there is the problem of the ‘real presence’ of the performer, a notion as ontologically contentious as that of transubstantiation in the Christian eucharist (and with some interesting parallels).
This paper will attempt a new approach. It will suggest that what we call music draws upon a double ontological field – one being the conditions for something being an individual object, normally applied to a particular set of schematic features that we call a ‘work’ (though those features are not yet ‘ontologically’ music); the other being a generic type of artefactuality called ‘musicness’ which any single object (or ‘work’) can exemplify in many different ways through the transforming displays of its performances. This ontological separation is not really in opposition to the separation of performance/work authorities with which we began – rather it may turn out to be its true philosophical basis
Taina Riikonen: On a Slippery Ground – Ethnographer, Authority and Performative Participant Observation
Participant observation is perhaps one of the most vigorously debated method/approach/ epistemological choice within the diverse field of ethnographic studies. It seems to hit on the very painful heart of the crisis accumulation of the field work-based research: the crisis of representation, legitimation and praxis. Although the shift from participant observation to, as Barbara Tedlock has put it, “copartition within the ethnographic encounter” is acknowledged, it is perhaps an under-theorized onto-epistemological move.
This paper asks questions around participant observation, authority and performativity through two particular participant observation experiences in the field of contemporary sound making –with The Avanti! ensemble (Finland) and The Automatic Writing Circle (UK). The key themes of the discussion are embodiment, power, and ethics in the processes of the sound producing, data collecting, and sensory-technological documenting/witnessing. The paper draws its inspiration from Della Pollock’s elaborations on performative writing and D.Soyini Madison’s theorization on critical ethnography and embodied writing.
Elina Saloranta: Tango Lesson
My presentation consists of a four-minute video (Tango Lesson, 2007) and a short talk in which I describe the collaborative process of making the work. The video is shot with a hand-held camera, which follows a pregnant woman dancing Argentine tango. The soundtrack is made from the perspective of the fetus, and it is inspired by scientific studies on the intrauterine sound world.
Elina Seye: Negotiating Tradition in Sabar Performances
The sabar rhythms and dances are a popular form of entertainment among the Wolof people in Senegal and they are performed at many kinds of events. These performances are first of all occasions for social interaction through dance and music but each performance also reconstructs sabar tradition by embodying the views the participants have about the norms and values of that very tradition.
In the sabar, performing is always a collaborative effort. The musicians are professional performers and in many senses guardians of tradition but anyone present can participate in dancing, although dancing is generally dominated by women. Sabar dances are performed as very short improvised solos that have also a musical role in performance: the lead drummer will follow the movements of a dancer with his playing. Thus even musical authority shifts between drummers and dancers during performance.
In my paper, I am focusing on this interaction between performers from the point of view of tradition: How is the sabar tradition negotiated in these performances? What norms and values are represented through dance and music, and how are they embodied? What are the relationships between different groups of participants in this respect: who has the power to judge what is acceptable within the sabar and what is not?
Ronald E. Shields: From Archive to Stage, From Authors to Audiences: Opera as Embodied Authorities
This essay details the multi-material aspects of preparing the North American premiere of Francesco Cavalli’s early Venetian opera, Gli Amori d’Apollo e di Dafne (1640), a musical setting of a libretto by Giovanni Francesco Busenello. A collaborative production prepared by faculty and students from Bowling Green State University and the Eastman School of Music, the creative team relied upon contributions from baroque music authority Paul O’Dette, who realized the continuo for this production and served as music director. From archival score to the stage, from authors to audiences, this essay recounts the dynamics of embodied authority framing the origins of this opera as well as those forces guiding our production team. Besides providing insights into the interdisciplinary imperatives of approaching opera production as performance studies, this essay also underscores how our research and creative collaboration explored and exploited this opera’s compelling artifice of caprice as a guide to our staging, a rhetorical and artistic strategy central to this opera’s origins, dramatic structure and emotional complexity. Referencing our research and rehearsal discoveries, I argue that the composer and librettist used the performance of myth and music to seduce audiences to accept violence towards women as heroic. Besides seeking to entertain and attract audiences to this new form of public theatricals, goals not unlike what we strive for today, Cavalli and his collaborators used the operatic stage to critique the gender politics of the day through the depiction of violence as a male necessity in life, attitudes central to this libretto and the larger cultural project that was seventeenth-century Venice.
Anne Sivuoja-Gunaratnam: Aino Ackté’s Lyrical Salome
Richard Strauss originally intended the role of Salome for a voice like Isolde with the body of a sixteen-year-old maiden. The Finnish opera diva Aïno Ackté (1876–1944) was among the first, if not the first lyrical Salome; Mary Garden’s Salome was almost two years later.
After her studies in Paris Conservatoire, Ackté made her debut in 1897 as Marguerite in Opéra de Paris. Her first Salome nights were in Leipzig and in Dresden in 1907. In 1909 she appeared in Dresden, this time under Strauss’s baton, and she had a colossal success in London in the two cycles of Salome performances in Covent Garden, under Thomas Beecham, in 1910 and 1913.
In her autobiography (1935) Aïno Ackté considers Salome as the pinnacle of her career. But in the hundreds of letters to her first husband Heikki Renvall she straight-forwardly discusses the almost inhuman demands the role posed for her lyrical voice and technique. Furthermore, letters to her singer-mother Emmy Achté and singer-sister Irma Tervani, photographs, drawings and particularly her personal Salome score reveal many details about Ackté’s interpretation. Unfortunately no sound recordings of Ackté’s Salome have been preserved. However, her other recordings contemporaneous to her Salome performances give a chance to compare her voice to some other early Salomes.
This paper contributes to the performance history of Salome from the perspective of an individual singer. Methodologically it draws from performance studies of music as well as from the genetic study of performance, a novel approach within theatre studies, which studies performances as processes. Consequently, Aïno Ackté’s Salome is approached here as her lived-in process, mediated by the empirical material mentioned above.
Marjo Suominen: Signs and messages of love in performing Handel´s Opera Giuolio Cesare
By studying metaphors of love in Handel´s Giulio Cesare in Egitto, I will introduce how it is depicted by the arias of the protagonists, via Cleopatra´s and Caesar´s musical relations, as a prevailing message. The atmospheric tone paintings set to the musical highlights of the protagonist arias answer the following questions: how is love defined in Giulio Cesare in Egitto? What kind of musical signs and metaphors of love are there in use and to be found? What will these signs tell us and how will they communicate the message of the work through various performance interpretations of it? Love is an essential theme in Giulio Cesare because the arias` foci are interlocked by the affectual tensions.
Handel composed the opera to Nicola Haym´s libretto which in turn was based on a Venetian opera by Antonio Sartorio and Francesco Bussani produced 47 years before. Bussani´s version utilized some historical sources related to Caesar´s biographies (by Suetonius, Plutarch and Hirtius) in the background. Instead of treating the political intriguing as the main theme, both Bussani and Haym chose rather to emphasize the romantic junctions of the storyline in their librettos.
As a framework of the musical analysis, I am applying the theory of affects in music appearing in the writings by Johann Mattheson (especially his Das Neu=Eröffnete Orchestre, The Newly-Reopened Orchestra, 1713). Mattheson grounded his musical theoretical outlines on Classic Aristotelian and Cartesian ideals (established first in Aristotle´s Rhetoric and later in Descartes´ Les passions de l’âme) which relate closely also to performance practices of the work.
Petri Tervo: Kinesis, authority and the crisis of the civilized body
I will start from analysis of the modernist kinesthetic movement through some paintings figuring male nudes. Works by Edvard Munch and Thomas Eakins reveals an investment in masculine, muscular, sexually emphatic physicality in the complicated situation of transferring symbolic authority from older generation of bourgeois intellectuals to the younger generation in the time of the fin-de-siécle in Europe and United States. By the kinesthetic movement I mean both the more feminine modern dance movement and the masculinist esthetic gymnastics and the new kind of reflexive body techniques constituted as prophylaxis against the failures of will in modern urban ”diseases” like neurasthenia. Bodyminds where thought to be reformable starting from motion, physicality and kinesis. This movement also refers to avant-gardist emphasis on live theatrical performances and a new kind of actor pedagogy where different kinds of military and sporting excercises where connected to commedia dell’arte style movement and eurhythmics. Authority was invested in the moving body and in the e/motional process from kinesis to sign. My theme is then the crisis of bourgeois embodiment (of the gestural body, the representational body, and the civilized body) and its connection to the campaign against neurasthenia in the new modernist and masculinist body culture which aimed to transfer power from the bourgeois literary author to the force of the masculine body testing its limits in movement. Through the medium of rhythm this testing of the limits in movement becomes a general topics in the field of cultural performances.
Johanna Tiensuu: Different Pianists with Different Bodies. Does Body Matter? (Constructing Material Interconnections Concerning Piano-playing with Concepts Corporeality/Body, Difference and Gender/Sex)
In recent years many of pianopedagogues have tried to bring the body to the centre of pianopedagogy, also in the field of inquiry. Partly, it is question about turning, so called, tacit knowledge explicit. Traditional musicology focuses on composers and their works and neglects musician, which represents corporeality. My paper bases on my forthcoming transdisciplinary dissertation, which intersects music scholarship (performance studies) with feminist theories. The main concepts on which my argumentation rests are corporeality/body, difference, and gender/sex. Concepts link together and have interconnections with surrounding institutional reality.
My paper explores possibilities of combining discursive and materiality concerning corporeality in the context of pianopedagogy, linking abstract discursive to concrete material. I focus on the questions of corporeal materiality and corporeal differences, which produce ability or disability in the context of institutional pianopedagogy. Differences include gender/sex: the former is socially constrained, and the latter is constrained by biology.
The case under investigation is one pianolesson, where one pedagogue teaches one pianostudent. The research approach combines ethnographic methodology and theoretical framework. Fieldwork material consists of observational notes and transcription of recording. I ask, which corporeal differences matter, how and why. The study complements the previous discussion on the topic by concentrating focus on specific corporeal differences.
Gaia V. Varon: Symphonic Music on Screen: Beethoven's Fifth Symphony
Nowadays, it is common practice to «watch» symphonic music on a screen, and videos are gradually summing and building up a specific portion of music repertoire. What is the nature of a classical music video? What relations does it entail with the score? and with the particular performance it displays?
The paper proposed presents some results of a wider, ongoing research, aimed at outlining and analyzing the structural mechanics of the screen version of a performance, particularly the relationship between the screen version and the score, and the relationship between the screen version and the performance.
The research takes a few assumptions as starting points: filming music implies a specific authorship – comprising all the individual contributions of the team components. And the screen version of a performance can be looked upon as a new, specific object, in which three different layers of authorship coexist: composition, performance, screen production. I call the level of screen production, the «third authorship», and I assume that analyzing the third authorship layer is possible, legitimate and worth; and, particularly, that through a thorough analysis of the screen version, it is possible to outline the ideal intention of the third authorship, which I call «overscore». When we watch Toscanini conducting Beethoven's Fifth at Carnegie Hall, we must be aware that we are not experiencing that particular performance, but a specific reading of it, i.e. the specific overscore of the third author - the performance of the performance, so to say.
The paper focuses upon different versions of Beethoven's Fifth Symphony produced over the last fifty years, and especially on four different versions conducted by Herbert von Karajan, starting from a standardized tv production of the Fifties, and going through productions showing the growing influence of Karajan over the music filming, until eventually he himself becomes the director.
Teresa Vila Verde: Music as Performance: a place of fight and flight
Envisioning music from a performance’s perspective represents to me an extraordinary platform to re-think, re-evaluate and re-enact music-making in the present context. As Marvin Carlson said (2004), performance is the process by which past forms of thinking and doing are adjusted and changed in the present, to answer the new motivations, needs and ways of living. To think about “music as performance” we need to challenge many ideas about the way music is typically thought, performed, perceived and studied by composers, musicians, listeners and researchers (a fight). But the benefits gained in this process are huge: we find a safe place to test new artistic models, new languages to represent ideas, new modes of interaction among co-workers, and new strategies to address the audience (a flight). As a musician with keen interest in the performance world, at this conference I will present my latest work, entitled “Music or Performance? That is the Question”, which intersects written/improvised music with live video, performance, theatre and autobiography. It involves the collaboration of five different-skilled persons, including a sound and a video technician, a light designer, a theatre director and a music performer, and aims to defy conventions about what a concert, a pianist and a woman is. The presentation of this multimedia work will start with the deconstruction of its creative process followed by video screening of some of its relevant moments. Finally, more theoretical issues regarding the philosophical nature of the event, the authorial relationship between co-workers, the mode of perception by the viewers, the strategies to document a live event for further investigation and diffusion, and the way it connects with contemporary culture and life style, will be addressed.
Alexandra Vinzenz: The ritual act – initiation for transformation? Hermann Nitsch and Joseph Beuys
In the 1960s, various artists conceptualized the performing act as a “rites of passage” procedure leading to sociopolitical interaction and transformation. Among them was Hermann Nitsch, leader of the Wiener Aktionisten. In his Orgien Mysterien Theater (1964ff.), organic materials such as blood, carcass and white cloth were to stimulate the recipients/actors until they fell into a dionysical trance. The borderline between art and life was to become blurred. Nitsch had a special interest in the performing act as a festival to which he attributed the power of transforming society. This is clearly based on Wagner’s Gesamtkunstwerk (1849/50): Wagner had postulated both the necessity of combining the individual arts as well as the resulting new artwork’s transformative power in society. I understand Wagner’s two-phase process as the foundation of large portions of performative actions after 1945. Nevertheless, they developed into quite diverse types of social action—Nitsch, the example to be discussed in my paper, on the one hand, Joseph Beuys on the other hand. Therefore, it is not surprising to find clear traces that Nitsch stemmed from Wagner, although he combined this source with some well-known fin-de-siècle theories (Artaud, Freud, Nietzsche) as well.
Nitsch and Wagner share huge common ground: self-mystification, reception of the Greek idea of polis, a visionary concept of a new society in which art substitutes religion, the belief that the performing arts have the power to trigger off this process etc. My paper will concentrate on two subject areas. Firstly, I will discuss Nitsch’s reception of the ideas mentioned above and the new umbrella concept that resulted in their blending. Secondly, I will compare his approach with Beuys’s conceptions. Thus, my presentation will sketch a trans-disciplinary approach towards a deeper understanding of both Nitsch himself and his influence on the performance art after 1945.
Marjaana Virtanen: From Sketches to First Performance: The Influence of First Performers on a Musical Work
Composers have throughout the history of western art music interacted closely with the musicians performing their compositions. For example, composers may revise compositions after negotiating with the performers in rehearsals prior to the first performance. However, the impact of such composer-performer interaction on musical works has seldom been studied, as the shaping of a work in rehearsal is normally hidden from scholars and audiences. Only the finished result – for instance the first performance in a music festival – becomes public.
In this paper I analyze the performers’ impact on a new composition in the composing and rehearsal processes, which precede the first performance. The case under investigation is the Finnish contemporary composer Jyrki Linjama’s "Completorium" for soprano, countertenor, alto recorder, viola da gamba and harpsichord. I ask, which musical parameters of the composition-in-progress the performers can influence and how. The research approach is ethnographic and deploys a wide range of research materials: audiovisual recordings of the rehearsal process and the first performance, interviews with the composer and the performers and sketches of the investigated composition.
I end the paper by asking what kind of a model of the work-concept (particularly the composer-work-performer relation) can be formed, when the musical work is studied as something that is in the process of being built through interaction. The fact that the study examines the composer-performer dichotomy in live rehearsal complements the previous, rather theoretical discussion on the topic.
Laura Wahlfors: Preparing Schumann’s Kreisleriana. Barthes’s Schumannian body and the pianist as an embodied subject-in-process
In his essays “Rasch” (1975) and “Loving Schumann” (1979) Roland Barthes writes intriguingly about the bodily, sensual and erotic qualities of Schumann’s music. “Music’s body” for Barthes, however, is not the performer’s body but the “Schumannian body”. In line with Barthes’s famous idea of the death of the author, the composer is relinquished as a subjective agency behind the musical text, but his figure is nevertheless preserved in a fragmented form as the materiality of music’s (textual) body. Together with the confinement of his Schumann to an intimate space that escapes sociality and culture, this serves for Barthes as a subterfuge to protect and embrace music as an immediate – un-mediated – experience. What is evacuated is the necessary mediator: the performing body of the musician.
In this paper, the focus will be shifted onto the process of mediation that calls for the embodied authority of the musician. In his lecture series La Préparation du roman (1978–80) Barthes elaborates on the idea of “preparing a novel” as a concrete technical process. Although Barthes himself does not apply these kinds of ideas to the practice of music, I consider it fruitful to do so. I shall discuss the creative activity of “preparing” Schumann’s Kreisleriana (op. 16, 1838) as a pianist. Without settling for Barthes’s somewhat undifferentiated Schumannian body, I rather explore the complexity of the pianist’s body-in-process on which different historical and discursive meanings are inscribed. As a source of inspiration in my creative process, I shall refer to E.T.A. Hoffmann’s novel Life and Opinions of the Tomcat Murr (1819–21) which has a well-known intermedial relationship to Schumann’s Kreisleriana. I shall demonstrate my points at the piano with examples from Kreisleriana part V.
Allen S. Weiss: On the Demonic in Music
Musicological theory is divided as to whether music is a formal or a representational system, whether mimesis is central or incidental to musical form. This presentation on the demonic in music addresses such issues in relation to the glissando, a trope that has become central to modernist music, an extreme sonic form that has opened up entirely new dimensions of mimetic and phantasmatic possibilities.
Caroline Wilkins: An expansion of the admissible
‘An expansion of the admissible‘ * : the embodiment of music / sound within a shared intermedial performance space’
“interaction is built on the belief that to remove the hand of the artist is to invite unexpected results”(1)
In this presentation I would examine an ongoing collaboration with an electronics composer (2) from the perspective of sound theatre. Documenting the process of exchange at each stage has allowed for a constant analysis of methods used to facilitate our communication and procedure of developing musical collaboration within an intermedial performance project. I will focus on our use of terminologies /languages / systems as tools for research by means of audio / visual recordings and performance score analysis.
Meta-technical ideas are explored with regard to the spatial and temporal considerations involved in this kind of process. In this case the key sound sources used are the bandoneon and the voice. Combined with choreographic movement, sound diffusion and lighting, the live interactive electronics generate, in effect, several other extended ‘instruments in space’.
The flexible medium of interactive performance allows for a work to transform and grow organically over time. It further demands a re-examination of inter-disciplinary notation practices through the wider concept of Performance Composition, a term that views the score as a ‘performance text’, one that relates to other arts and media. This fundamental shift in authorship is approached from a socio-political, cross-disciplinary and technological viewpoint, drawing on ideas of the Posthuman as exemplified by N.Katherine Hayles. (3)
*Harvey,J. ‘The Metaphysics of live electronics’. Contemporary Music Review. 18/3,1999.pp.79.82.
1. Brandon LaBelle, Background Noise. Continuum 2007. pg. 289.
2. Oded Ben-Tal, lecturer at Kingston University, UK.
3. Hayles, N.Katherine. ‘How we became Posthuman’. Chicago University Press. 1999.
Jason Younts: Anything Dexter Gordon can do, Johnny Griffin can do better and Vice-Versa: An Analysis of Communication in Performance
Improvisation in jazz can be characterized as communication between the improvisor, musicians accompanying, and the audience. At times, this communication is veiled amongst the musical texture to the extent that it cannot be determined which participant is the catalyst for the direction of the collective improvisation. Such mumbled musical conversations amongst an ensemble will not be addressed here, rather the direct, clear communication between two individuals is the necessary starting point.
This paper will address the Tenor ‘Duel’, or ‘Battle’ or ‘Cuttin’ Session’ between Dexter Gordon and Johnny Griffin from a live performance at Carnegie Hall in 1978. I will show that during the cooperative improvisation and turn-taking process, the two players shift between acting as a “producer” and/or “receiver”, to use Nattiez’s terms (1990), of the melodic, rhythmic and harmonic content, or topics of conversation. In this process, the two active participants in the musical conversation alternate, and at times share, control of the musical result. This process of turn-taking is no different than the turn-taking options occurring in a verbal conversation, in which one individual communicates a message and then another either addresses the message directly, modifies the content of the message, or takes the conversation in a new direction entirely.
This interaction is an example of a performance practice in jazz that distinctly displays the process of embodied interactions in performance: musical performance that is immediately determined by the musical statement of another musician.
Specifically, it would appear that a melodic idea, or shape, presented by one player and responded to by another results in a shared communicative message in performance.