Performing music: a comparative approach
Performing music: a comparative approach
Venice, Island of San Giorgio Maggiore
Historians of music and ethnomusicologists will meet with the main objective of comparing their experiences in studying the concept of performance in the fields of Western art music and oral-tradition music.
The seminar has been jointly organised by the Institute of Music and the Intercultural Institute for Comparative Music Studies, in collaboration with the research project Musik als Ereignis (Von „Exekution“ zu „Performanz“. Eine Begriffsgeschichte musikalischer Aufführung seit dem 18. Jahrhundert), directed by Hermann Danuser at the Humboldt University, Berlin, and with Labex GREAM (Groupe de Recherches Expérimentales sur l’Acte Musical), directed by Pierre Michel at the University of Strasbourg.
Ethnomusicological aspects will be addressed by Francesco Giannattasio from La Sapienza University, Rome and Martin Clayton from Durham University, England.
In the field of music the concept of performing can take on various meanings according to repertoires and historical ages. It may mean the acoustic production of a musical thought, only vaguely outlined and strongly dependent on the personality of the performer, or the realisation of a musical text written out on a stave in the most precise way possible, or the free and extemporaneous creation of musical situations closely bound to a context. The specific aspects of this issue have been studied individually by historians of music and ethnomusicologists. The two disciplines have stressed the central importance of the acoustic realisation, the fact that without producing sounds there can be no musical tradition. And both have developed theoretical approaches which hitherto, however, have been pursued on independent paths.
The aim of this seminar is to compare the work and views of scholars who have studied performance in the fields of Western art music and oral-tradition music.
The principal focus is the performative act and various related aspects: gesture, corporeality, visual nature, sociality and interaction.
The seminar will also provide the opportunity to compare various research experiences, and especially those developed in two projects: Labex Gream (Groupe de recherches expérimentales sur l’acte musical, Strasbourg University) and Von „Exekution“ zu „Performanz“. Eine Begriffsgeschichte musikalischer Aufführung seit dem 18.Jahrhundert (Humboldt University, Berlin).
Programma
18 giugno
Ore 14.00 Presentazione
Gianmario Borio, Università di Cremona e Fondazione Giorgio Cini
Giovanni Giuriati, Università di Roma “La Sapienza” e Fondazione Giorgio Cini
Ore 14.30 Hermann Danuser
Humboldt Universität zu Berlin
Institut für Musikwissenschaft und Medienwissenschaft
The Logic of Musical Readings, or Execution – Interpretation – Performance:
Beethoven Sonata op. 109, Third Movement; Brahms Rhapsody op. 79 Nr. 1
Ore 16.30 Francesco Giannattasio
Università di Roma “La Sapienza”
The musical rhythm as dynamic product of performance interaction
19 giugno
Ore 9.00 Pierre Michel
Université de Strasbourg
Faculté des Arts (Musique)
Labex Gream
Understanding Sequenza VIIb of Luciano Berio: Two Perspectives
Ore 11.00 Martin Clayton
Durham University
Interaction, entrainment and joint action in music performance
Ore 15.00 Discussione generale
Ore 19 Concerto di musica indiana
Shahid Parvez Khan (sitar), Nihar Metha (tabla)
In the picture: View of a pwe (a traditional Burmese performance combining, music, dance and drama), Burma, 1880. Copyright © British Library Board