Abstract

The problem of the double has explicitly haunted music since John Cage declared music to be part of theatre. In Immaculate Conception, No Collective explored this doubling by creating a doppelgänger ensemble that acted as a copy of the musicians of the group ensemble mise-en. This tactic foregrounded the theatrical dimensions of music, while the context surrounding the performance itself highlighted the problematic entanglement of original and double (between “experimental” and “contemporary”) in the social sphere of new music.

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Additional Information

ISSN
1531-4715
Print ISSN
1054-2043
Pages
pp. 161-167
Launched on MUSE
2017-03-08
Open Access
No
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