Occupied reflections: audience as performers

Visualizações: 103

Autores/as

  • Sara Carvalho Universidade de Aveiro | Portugal Instituto de Etnomusicologia – Centro de Estudos em Música e Dança (INET-md) | Portugal

DOI:

https://doi.org/10.33871/23179937.2020.8.2.1

Palabras clave:

New music, Composition, Toy piano, Audience, Performance

Resumen

New music is often perceived as challenging, and many times generates controversial opinions. Nevertheless, it allows for some non-obvious relationships between composers, performers, and listeners. Finding more effective ways to engage listeners into new music could be an alternative way to reach out to further audiences. This paper aims to discuss and give examples of how the audience was integrated as a performer in a new music performance, more specifically in the piece "occupied mirrors" , for toy piano and audience (composed by the author of the paper). The piece was thought through and planned in such a way that it invited the audience to become active performers, part of the musical plot as music makers. Conclusions suggest that what was asked from the audience opened up a unique new music experience, as they had to follow instructions and actively participate in the construction of the sound.

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Biografía del autor/a

Sara Carvalho, Universidade de Aveiro | Portugal Instituto de Etnomusicologia – Centro de Estudos em Música e Dança (INET-md) | Portugal

Sara Carvalho is a composer and a lecturer in Aveiro University, and a fellow researcher of INET-md, Portugal. She is interested in the interaction of different Performing Arts, and all aspects associated with gesture, audience as performers and performer-composer collaboration. Her folio has over 60 pieces that are played regularly, including commissions by ensembles of international merit, and prestigious institutions. Several of her pieces are available on CD and many of her scores are published by the Portuguese Music Information Centre. Her research work is presented at international conferences, and is published in several journals and book chapters. ORCID: https://orcid.org/0000-0003-4391-8498.

Citas

CARVALHO, Sara; MARINHO, Helena. Ritual and transgression: A Case Study in New Music. E-Cadernos, Centro de Estudos Sociais da Universidade de Coimbra, n.8, pp.108–120, 2010. Available at: <http://www.ces.uc.pt/e-cadernos/media/ecadernos8/07 - Sara Carvalho e Helena Marinho 12.04.11 FINAL.pdf>. Accessed on: 30 April 2019.

COOK, Nicholas. Between Process and Product: Music and/as Performance. Music Theory Online, v.7, n.2, 2001.

DE HANN, Simone. The Relationship between the Composer, Performer and Listener in Twentieth Century Music-Making - Inaugural professorial lecture. Griffith University, Queensland, Australia, 1988. Available at: <http://hdl.handle.net/10072/368708>. Accessed on: 2 May 2019.

LOFFREDO, Antonietta. The Toy Piano. Bologna: Ut Orpheus, 2018.

MEYER, Leonard. Emotion and Meaning in Music. Chicago: University of Chicago Press, 1956.

KENDALL, Roger; CARTERETTE, Edward. The Communication of Musical Expression. Music Perception v.8, n.2, pp.129–163, 1990.

SERAFINE, Mary Louise. Music as Cognition: The Development of Thought in Sound. Columbia University Press, New York, 1988.

WAYMAN, Virginia. The meaning of the music education experience to middle school general music students. Dissertation (Doctor of Philosophy with a Major in Music). Faculty of the School of Music and Dance, University of Arizona, 2005. Available at: <https://docplayer.net/41698818-The-meaning-of-the-music-education-experience-to-middle-school-general-music-students-virginia-elaine-wayman.html>. Accessed on: 29 April 2019.

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Publicado

2020-09-15

Cómo citar

Carvalho, S. (2020). Occupied reflections: audience as performers. Revista Vórtex, 8(2), 1. https://doi.org/10.33871/23179937.2020.8.2.1

Número

Vol. 8 Núm. 2 (2020): Revista Vórtex

Sección

Dossiê "The Toy Piano Takes the Stage"

Licencia

Derechos de autor 2021 Sara Carvalho

Creative Commons License

Esta obra está bajo una licencia internacional Creative Commons Atribución 4.0.

Los autores conservan los derechos de autor y conceden a la revista el derecho de primera publicación, con el trabajo simultáneamente bajo la licencia Creative Commons Attribution Licence que permite compartir el trabajo con reconocimiento de autoría y publicación inicial en esta revista.

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