Processing “Representative Charge”: Embodied Listening and Luciano Berio’s Visage
0
조회
0
다운로드
0
인용
0
참고문헌
키워드
초록
dualism. This study offers insights into the embodied aspects of producing and experiencing electroacoustic music. Through an analysis of the sonic material and reception history of Luciano Berio’s Visage, the author illuminates the connections retained between mental and physical processes and sensations in the production and reception of the piece. These mental-physical connections attach to both vocal and electronic sounds, complicating and extending experiences of embodiment beyond sounds produced by human bodies. The analysis offers frameworks and avenues for future research into the embodied experience of electroacoustic music.
Abstract
dualism. This study offers insights into the embodied aspects of producing and experiencing electroacoustic music. Through an analysis of the sonic material and reception history of Luciano Berio’s Visage, the author illuminates the connections retained between mental and physical processes and sensations in the production and reception of the piece. These mental-physical connections attach to both vocal and electronic sounds, complicating and extending experiences of embodiment beyond sounds produced by human bodies. The analysis offers frameworks and avenues for future research into the embodied experience of electroacoustic music.
참고문헌 (20)
- "Visage (author’s note)"[URL]
- Berio, L, "Remembering the Future" (2006), Harvard University Press
- Brown, N., "The Flux between Sounding and Sound: Towards a Relational Understanding of Music as Embodied Action", Contemporary Music Review, 25(1-2), pp.37~46 (2006)
- Causton, R., "Berio’s ‘Visage’ and the Theatre of Electroacoustic Music", Tempo, Italian Issue, 194, pp.15~21 (1995)
- Cimini, A., "Vibrating Colors and Silent Bodies Music, Sound and Silence in Maurice-Merleau-Ponty’s Critique of Dualism", Contemporary Music Review, 31(5-6), pp.353~370 (2012)
- Corness, G., "The Musical Experience through the Lens of Embodiment", Leonardo Music Journal, 18(1), pp.21~24 (2008)
- "Embodying Music: Principles of the Mimetic Hypothesis" (2011)[URL]
- Cox, A., "The Mimetic Hypoethesis and Embodied Musical Meaning", Musicae Scientiae, 5(2), pp.195~212 (2001)
- Crossley, N, "Connecting Sounds: The social life of music" (2019), Manchester University Press
- Dudas, R., "“Comprovisation”: The Various Facets of Composed Improvisation within Interactive Performance Systems", Leonardo Music Jounal, 20(1), pp.29~31 (2010)
- Dyson, F, "Sounding New Media: Immersion and Embodiment in the Arts and Culture" (2009), University of California Press
- Flynn, G. W., "Listening to Berio’s Music", The Musical Quarterly, 61(3), pp.388~421 (1975)
- Hatten, R. S, "A Theory of Virtual Agency for Western Art Music" (2018), Indiana University Press
- Herzfeld-Schild, M. L., "Studien zu Cathy Berberians “New Vocality”", Archiv für Musikwissenschaft, 68(2), pp.121~156 (2011)
- Juntunen, M. -L., "Digging Dalcroze, or, Dissolving the Mind-Body Dualism: Philosophical and Practical Remarks on the Musical Body in Action", Music Education Research, 3(2), pp.203~214 (2001)
- Leman, M., "The Role of Embodiment in the Perception of Music", Empirical Musicology Review, 9(3-4), pp.236~246 (2014)
- Meehan, K, "Not Just a Pretty Voice: Cathy Berberian as Collaborator, Composer and Creator", Doctor, pp.2011
- Oliva, S., "Music and Language? Deleuze, Guattari and Berio on Visage", La Deleuziana Online Journal of Philosophy, 10, pp.223~231 (2019)
- Osmond-Smith, D., "The Tenth Oscillator:The Work of Cathy Berberian 1958-1966", Tempo, 58(227), pp.2~13 (1958)
- Pelinski, R, "Embodiment and Musical Experience", TRANSRevista Transcultural de Música, 9, pp.1~42 (2005)