Performance, Subjectivity, and Experimentation

Performancein the fields of contemporary music, subjectivity and identityMusic reflectssubjectivity and identity: that idea is now deeply ingrained in both musicologyand popular media commentary. The study of music across cultures and practicesoften addresses the enactment of subjectivity &quote;in&quote; music - how music expressesor represents &quote;an&quote; individual or &quote;a&quote; group. However, a sense of selfhood isalso formed and continually reformed through musical practices, not leastperformance. How does this take place? How might the work of practitionersreveal aspects of this process? In what sense is subjectivity performed in andthrough musical practices? This book explores these questions in relation to arange of artistic research involving contemporary music, drawing onperspectives from performance studies, phenomenology, embodied cognition, andtheories of gendered and cultural identity.Contributors: SteveBenford (University of Nottingham), Richard Craig (freelance performer and researcher), David Gorton(Royal Academy of Music, London), Christopher Greenhalgh (University ofNottingham), Adrian Hazzard (University of Nottingham), Juliana Hodkinson(Grieg Academy, University of Bergen), Maria Kallionp (Aalborg University), ZubinKanga (Royal Holloway, University of London), Catherine Laws (University ofYork/Orpheus Institute), Jin Hyung Lim (Keimyung University), Thanh Tha y Nguya n(Malm Academy of Music, Lund University/Vietnam National Academy of Music), Stefanstersj (Pite School of Music, Lule University of Technology/Orpheus Institute),Deniz Peters (University of Music and Performing Arts, Graz), Eleanor Roberts(University of Roehampton), Anne Veinberg (Orpheus Institute)This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).