Die Doktoratsprogramme der Anton Bruckner Privatuniversität sind mit dem Doktoranden Carlo Siega und der Leiterin der Doktoratsprogramme Prof.in Dr.in Barbara Lüneburg gleich zweimal beim Symposium Methods in Artistic Research des Antwerp Research Institutes for the Arts (ARIA) mit Vorträgen zu ihren neuesten Forschungsprojekten vertreten:
- Mittwoch 17.3.2021: 12:45-13:15
Prof. Dr. Barbara Lüneburg
Embodying Expression Gender and Charisma – A Critique of Classical Instrumental Practices through Artistic Research
Abstract - siehe unten.
- Mittwoch 17.3.2021: 15:30-16:00
Doktorand der ABPU Carlo Siega
Reload. Re-actualisation Practice as Tradition Renovation. A Case Study
Abstract - siehe unten.
Auswärtiges Publikum kann die Vorträge live über YouTube verfolgen.
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Abstracts:
Prof. Dr. Barbara Lüneburg
Embodying Expression Gender and Charisma – A Critique of Classical Instrumental Practices through Artistic Research Abstract
In this paper I outline an artistic research project through which I intend to gain a deeper understanding of embodied expressions of charisma and gender in classical instrumental solo violin practices. I investigate how performers shape expression and construct charisma through embodied techniques, if and how these bodily practices can be construed as typically ascribed to either the male or female gender, and how this influences perception and value systems. My methodology is based on artistic research, embodiment, re-enactment, and phenomenology. To explore the meaning of the body as a determining factor of musical expression, and to recognize how musical expression manifests itself in and through the body, I work with re-enactments of interpretations of selected violin solos by female and male soloists.
My first case study is based on the Violin Sonata Nr.3 Ballade by Ysaÿe. After first working towards my personal interpretation of the Ballade, I will re-enact widely differing interpretations of the same work performed by female and male soloists and documented in video recordings. I first separate audio track from visual image to deeply listen to the audio interpretations only and re-enact them as closely as possible using my own bodily repertoire regarding bowings, fingerings, gestures, mimic and posture. In a second more extreme step, I watch the visual interpretation that is embodied in posture, gestures, and mimic of the performer. While re-enacting it, I closely observe my body and its role in forming and rendering expression. I reflect on how re-enacting the interpretation and body language of another person changes my formative knowledge of my personal embodied techniques and what it does to me as an artist. Ultimately, I want to develop a theoretical and artistic framework that leads to new concepts of embodied practice in instrumental performance while encouraging debate about cultural and historical lineages.
Carlo Siega Reload.
Re-actualisation Practice as Tradition Renovation. A Case Study
The status of 'interpretation' practice within Western music culture lies in the musical text and historical bases. The score and specific ways of performing generate a common tradition among the performers' community and a historical context around the music artwork. A system of authorities guides the interpretation process toward validating an interpretation through different transmission grades (Dreyfus 2007). This system also serves to collect and preserve specific knowledge and performative practices for future generations. It produces a tradition in interpretation.
How is it possible to rethink a historically-based interpretation practice toward new and creative approaches? How does the knowledge achieved from the tradition can generate new performative solutions within interpretation practice?
This contribution wants to offer an approach focused on the re-actualisation practice of existing repertoire. The purpose of this contribution aims to reflect on the concepts of 'remaking' and 'openness' (Eco 1989), as a creative strategy to reenvisage the notion of historically-informed performance. It also aims to rethink the boundaries between the 'original work' (the score) and its reproduction (interpretation). Instead of questioning the score, it encourages to look for new potentials that the historical knowledge around score and its historical interpretation practice offer. Therefore, also the concepts of 'appropriation' and 'authorship' are questioned. To do so, the will is presenting a case study based on Serenata per un Satellite (1969) by the Italian composer Bruno Maderna (1920-1973). It is a graphically-pitched-notated open score, originally written for solo/groups instrument. Herein, the core of the re-actualisation process arises from the re-interpretation of the historically-informed notion of 'improvisation' – asked by the author for the performance – and the implementation of other practices which belong to Maderna's aesthetic. The result of it is a (con)version of Maderna’s Serenata for electric guitar and random electronics.
